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'No, please no': readers have their say on plans for Cambridge Chinatown location
Many say the proposed location for the Chinatown development would 'segregate' the city and could instead be used for more affordable housing
Tara Cox
Readers have said the city's potential Chinatown development earmarked for Cambridge North would be create an "artificial ghetto" and would segregate the city.
Today, the News told how empty land near Cambridge North has been earmarked as the envisaged location of the city's Chinatown.
Project campaigner Andrew Tse met with Cambridge MP Daniel Zeichner recently to discuss the plans.
Mr Tse says things are so far looking "very promising" and hopes to see the project come to fruition by 2020.
The location of Cambridge Chinatown has been revealed
Meanwhile, Mr Zeichner revealed he is committed to supporting Mr Tse and his partner Danny Wang in bringing the project forward.
The land near Cambridge North railway station has been selected as a viable area because it is largely undeveloped and it is hoped Chinatown would complement existing plans for shops, offices, restaurants and hotels for the region, which is also known as CB4.
There is also an issue of overcrowding in the city centre, which Mr Tse hopes a Chinatown would alleviate, by diverting footfall to the new northern quarter.
Readers took to the News' website and social media to share their views on the possible location, with many saying the land should instead be used for more affordable housing.
Andrew Tse and Danny Wang visited Cambridge North with Cambridge MP Daniel Zeichner
Commenting on the News' Facebook page , Barbara Taylor said: "This looks a good place for much needed council affordable housing".
Jack Lambert echoed this view, adding: "How about some affordable homes for the hard working people? Cambridge is a joke".
Writing on the News' website , commenter 'ConcernedofCambridge' said he would like to see "something interesting" at Cambridge North – and that the site has "so much potential".
Is the Cambridge North area a good location for the city's Chinatown?
1000+ VOTES SO FAR
'ProfGumby3' said the Chinatown would turn out to be an "artificial ghetto by the sewage works", while commenter 'opaque' wrote: "Chinatowns work as they are in the middle of existing cities and they grew naturally".
This half Chinese woman thinks a Chinatown in Cambridge would be 'socially disastrous'
Commentor 'jemmo27' wrote: "No, please no. I am always amazed, and delighted, to see the multicultural structure of Cambridge. It works! Please, don't do anything to change it - for ANY group of people.
"Please continue to integrate, not segregate. It's one of the finest things about Cambridge."
Commenter 'therealfacts' said there was nothing wrong with having area that specialise in certain types of restaurants – pointing out Chinatowns in London and San Fransisco, Little Italy in New York, Brick Lane in London and Curry Mile in Manchester as examples.
A night time shot of Gerrard's Street in Chinatown, London during the Chinese New Year season (Image: Anatoleya)
They added: "I wish local residents would make their mind up. One minute they want less congestion in the centre, so now whinge about a potential economic development further out near a new train station."
On the News' website, commenter 'CambridgeUK' wrote: "[This] sounds like an ideal location to me. After all, if you plan to build an artificial tourist attraction there is little point in building it in an area already full of tourists visiting historic existing attractions, and being completely honest I'd not welcome it in the centre of Cambridge in any event.
'This would perfectly complement Cambridge': City's politicians react to Chinatown proposals
"What people should remember is that like it or not Cambridge is expanding, and fast. A lot of development money has been ploughed into the plans for Cambridge North, and it will become, again, like it or not, much more urbanised than it is now.
"I think Mr Tse and Mr Wang have seen the longer term opportunity in that area, and if they are prepared to back that then they deserve much credit. The Chinese are known for their wisdom, and I think there is more than a little wisdom being demonstrated here."
On Facebook , Andrew Watton-Davies said it was nice to see the area being developed, but he's not sure how well it'll work and has worries the development would put pressure on or take trade away from the Chinese stores and restaurants "that have been in Cambridge for ages".
Majority of News readers back creation of Cambridge Chinatown
Also on Facebook, Jonny Payne said the development would be "another waste of money", adding: "Why not invest money on the existing hard working communities of Cambridge?"
What do you think? Let us know in our comments section below.
Local NewsReal schools guide 2020: Worst 10 Cambridgeshire primary schools revealedThe guide gives parents the opportunity to see how their child's school compared to others in the area
Local NewsUnmissable riverside walks in Cambridgeshire that will take your breath awayWalks that run alongside the River Cam, Great Ouse, Nene and Granta are all on the list


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Stephen Amell Talks Potential GREEN ARROW Movie And Grant Gustin Not Starring In THE FLASH Movie
Arrow has been a major success for The CW, creating many new fans of DC's Emerald Archer. The show has been so well-received that, in fact, fans were hoping that it and its spin-off series The Flash would be incorporated into the DC Cinematic Universe. However, Geoff Johns previously denied that the movies and TV shows will be connected, and this was reaffirmed when Ezra Miller was cast as Barry Allen for 2018's The Flash movie, rather than series star Grant Gustin. Still, that hasn't stopped Arrow star Stephen Amell from talking about the big screen potential for his character.
Speaking with The Wall Street Journal, Amell is asked if he is "ready" to star in a Green Arrow movie following the announcements of many DC and Marvel films within the past few weeks. The actor isn't particularly interested in the idea, citing his preference of shooting 23 hours worth of material for one television season over the typical two hours worth of a feature film. "I am completely indifferent. First of all, wanting a movie undersells the idea that making 23 episodes a year isn't a huge achievement. It is and I would put that degree of difficulty up against any feature film that has ever been made… except "Lord of the Rings" and that gigantic Peter Jackson-led undertaking… and maybe "Titanic." But, other than those two movies, I'd put making 23 hours of interesting content in a TV season up against anything on the film side. It is difficult to me to want or envision an "Arrow" movie when we are shooting the 10th episode of our third season with 13 more episodes to go and in all likelihood 3 more seasons on the other side of that. I'm interested in keeping that content fresh. Once we get to the end of that road, maybe then I'll shift my focus." However, he then admits that he does feel like he should play Oliver Queen on the big screen if that ever comes to pass.
Amell then goes on to discuss Ezra Miller playing the big screen version of The Flash, rather than Grant Gustin. While he admits that he wishes the CW star was cast instead, he's open to two different incarnations of the character co-existing. "I feel like it should be Grant doing the movie. But the important thing to remember is just because Grant Gustin plays the part of Barry Allen doesn't mean Ezra Miller can't also play Barry Allen. There can be different interpretations of the character. Anyone who is a fan of the comics knows the Flash character is one of the forces that leads to parallel universes." Amell adds that the same could apply to whoever plays the movie version of Green Arrow. "And who knows, they might find a fantastic actor to play Oliver Queen on the feature side who has a different take on the character. I'm certainly a departure from the typical Oliver Queen from the comic books. I just think that everybody needs to be patient with the whole thing. The fact that DC and Warner have announced all these comic book features is nothing but good for business."
For more from Amell, in which he teases this season of Arrow, the crossover with The Flash and whether or not Oliver will fight Ra's al Ghul, click the link above.
Paul Romano
Editor-In-Chief at WOBAM! Entertainment
Founder and Editor-in-Chief of WOBAM! Entertainment.
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Review: TENET (2020) - September 12, 2020
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ARROW: Season 3, Episode 4 "The Magician" Review
SUPERGIRL Series Also Casting Regular Roles Of Jimmy Olsen, Cat Grant, Hank Henshaw And Winslow Schott
Anime Announcements Aquaman Arrow Arrowverse Avengers Avengers: Infinity War Batman Box Office casting DC DC Comics dc entertainment DC Films dctv dc universe Disney Feature Film Justice League Legends of Tomorrow Lucasfilm Marvel Marvel Studios Marvel TV MCU Netflix news Opinion Review SDCC 2018 Sony Spider-Man Star Wars supergirl Superman The CW the flash Titans Trailer TV Venom Warner Bros. WOBAM Entertainment Wonder Woman
Review : FATMAN
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CARM (Conversation Analytic Role-Play Method) have developed a pioneering approach to communication skills training – using real time audio or visual recordings to identify the moments in real life conversations that can change the course of an interaction.
a dozen eggs have been working alongside the team to generate a coherent brand and illustrative style. This style has also been applied to an illustrated animation which promotes the use of CARM methods to businesses of all shapes and sizes, and guides viewers through understanding the science behind the Conversation Analytic Role-Play Method.
a dozen eggs are absolutely the team to brand and design – as an academic I had various fuzzy ideas about the kind of thing I wanted but the team were insightful, careful, inspiring and confident and produced stunning results. I recommend them to anyone I meet who could benefit from their cheerful, flexible and skilful work.
The Science behind CARM - the Conversation Analysis Role-Play Method from a dozen eggs on Vimeo.
Our animation forms the centrepiece of CARM's website, alongside a gallery of talks and presentations for various prestigious organisations that explain CARM further for visitors.
With so much information available to both academics, individuals and businesses, the site is very simply structured while still being responsive. The research performed by Liz and the team is available through the site, and an events page has been added. As more industries discover the benefits of CARM for their services, workshops have been made available.
Jo and Fran have a joint venture – CARMeggs – alongside Professor Liz Stokoe delivering workshops and providing consultancy around effective communication: ideal for mediators, GP's surgeries and public schools. The workshops will be focussing on coherent combination of written and visual methods, and how these can be best used with different client groups.


It's been some time since I've been to see a completely new musical, so it's with anticipation that I take my seat in the Mayflower stalls for the opening night of Wonderland in Southampton. Wonderland made its UK debut in Edinburgh in January, before embarking on a massive 30 venue tour.
A musical for true fans of musicals, Wonderland is in a similar vein to the likes of Wicked! It's silly and brash, and generally a bit bonkers. But, would you expect anything less from a contemporary adaptation of Lewis Carroll's Alice's Adventures in Wonderland, and Through the Looking Glass?
We begin outside a towering tenement block, as despondent single mother, Alice begins 'the worst day ever'. Within the first few minutes she learns her ex-husband has remarried; discovers that her car has been stolen, making her late for work; and then she's promptly fired – all on her 40th birthday.
With less astonishment than one might expect, Alice, her daughter Ellie (Naomi Morris) and their lovelorn neighbour Jack, spot the White Rabbit and follow him down a rabbit hole (or in this case, down in a broken lift!).
The trio are transported to Wonderland, full of all the familiar characters, each there to escape the 'real world'. They are ruled over by the tyrannical Queen of Hearts (TV's Wendi Peters), who spends her days merrily chopping of the heads of her subjects to confine them to her realm.
The overarching theme is of desire for change. We watch as sensible Ellie steps through the Looking-Glass and reappears as a sassy teenager. Morris' performance is a highlight for me; she pulls off both the mature daughter and rebellious teenager acts with brilliant comic timing.
Rachael Wooding, of Britain's Got Talent 2016 fame, stars as Alice in the Southampton leg of the tour. Wooding's voice is fantastic, although the rather weak script doesn't always do this justice.
The same can be said for Natalie McQueen's Mad Hatter; McQueen gives the performance all she's got but the storyline of her autocratic takeover of the Wonderland residents falls a little flat.
Overall, the choreography is fun, and the costumes are a playful nod to the classic depictions of Carroll's infamous characters. Although I do struggle to differentiate between a few of the songs, Frank Wilhorn's score and Jack Murphy's lyrics are vibrant and incredibly catchy.
If you're on the lookout for a new toe-tapping musical to take the entire family to, Wonderland is extremely fun and it's only in Southampton until Saturday 22nd April, so pick up your tickets now!


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Google's New Policy Chief Weighs Washington Reshuffle
Karan Bhatia, who joined in June, is reassessing the roles of existing staff, said the people, who asked not to be identified discussing private matters. This may hasten the departure of Google's longtime Washington director, former Representative Susan Molinari, according to one of the people. Molinari, a Republican who joined Alphabet Inc.'s Google in 2012, was slated to transition to an advisory role this month, opening up her position as head of policy for the Americas.
from Yahoo News - Latest News & Headlines https://yhoo.it/2CaoPT2


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LSD for Depression? Absolutely.
February 28, 2017 / thepsychedelicscientist
I wrote this article for The Third Wave, where it originally appeared, as a response to an opinion piece in the New York Times from skeptical clinical psychiatrist Richard Friedman. I think it can help address the typical arguments that come from people of anti-psychedelic bias. Enjoy!
A recent article in the New York Times, penned by clinical psychiatrist Richard Friedman, attempts to scare his audience into thinking that LSD might not be a good treatment for depression, despite a barrage of recent studies suggesting otherwise. Friedman appears to be of the opinion that it would be wrong to offer these drugs to sufferers of disease; even though there is no evidence of harm from LSD or psilocybin when given in a clinical setting, and despite the growing body of evidence of the efficacy of these drugs in treating mental health conditions.
Friedman himself mentions the debilitating nature of depression; between a third and one-half of all patients will never find relief from conventional treatments. Hundreds of millions suffer worldwide, and hundreds of thousands commit suicide every year. Most of those sufferers don't have access to the expensive treatments most commonly handed out by psychiatrists in the developed world.
We would expect that any psychiatrist would be ecstatic to hear of the recent findings that suggest psychedelics could be a more effective treatment for depression than any currently available medication, with no apparent long-term negative side-effects and without the need for repeat doses. Not to mention, psychedelics such as psilocybin are available in nature, meaning they could be available to everyone, instead of just a privileged few.
Surprisingly, Friedman is not enthused by the results. Instead, he launches into a criticism of one of the recent studies of psilocybin's effectiveness in treating anxiety associated with terminal illness.
Criticisms of a recent psilocybin study
Friedman states that the study, by Stephen Ross and colleagues at NYU, has "serious design flaws that cast doubt on the results". He critiques the small number of participants, the crossover design, and the use of an active placebo.
However, the study by Ross and colleagues is impeccably good science considering the restrictions in place on the study of schedule I drugs in the US. The study recruits 29 participants, which is substantial when you consider the cost can be thousands of dollars for a single dose of the drug for each patient. Of course, larger sample sizes would be preferable, but researchers are limited in the current drug policy climate.
The critique of the crossover design (whereby patients act as their own controls, being given psilocybin in one session and active placebo in another at random) is similarly harsh. When scientists are so heavily restricted in the study of schedule I drugs, they have to make compromises in their design. Scientists use crossover designs like this one in many trials, and although not ideal, are the best we have under the circumstances. The alternative, giving one group of people a treatment and one group a placebo, has already been performed with psychedelics, and still supports their efficacy in the treatment of depression.
Because psilocybin has such dramatic psychological effects, the researchers knew that participants would easily be able to tell whether they'd been given the drug or a placebo – so they used an 'active' placebo instead, a drug called niacin. Niacin makes you feel dizzy and warm, thereby doing a better job of masking the effects of psilocybin than an inactive placebo would. Yet it's not good enough for Friedman, who states that participants will still be able to tell which treatment was the placebo. Although he's right, it's impossible to fully control for the psychological effects of a psychoactive drug – especially a psychedelic drug. The only other option (which Friedman doesn't mention) would be giving participants two different doses of the same drug – thankfully, another group from Johns Hopkins has already performed this type of study, and the results still show the efficacy of psychedelics in treating depression.
For all this critiquing, Friedman doesn't think it's worth bringing up the amazing results of the study by Stephen Ross and colleagues. A single dose of psilocybin dramatically and significantly reduced the participants' depression and anxiety scores compared to niacin, and these reductions were maintained for weeks after the treatment. The findings are unprecedented in psychiatric terms – no other treatment for depression has produced such striking positive results. Considering Friedman is well aware of the devastating effects of depression, it's surprising that he isn't interested in discussing the potential benefits of psychedelics that have been brought up by this and other research.
Criticism of microdosing
After critiquing this recent research, Friedman discusses the emerging trend of microdosing – the act of taking tiny amounts of psychedelics every few days – as popularized by Ayelet Waldman's book "A Really Good Day" (click here for our interview with Ayelet).
Friedman's lack of knowledge about the practice of microdosing becomes abundantly clear as he warns that microdosers "cannot be sure what or how much they are actually taking". This is fundamentally untrue – a myriad of testing kits are available online for the avid microdoser to test the contents and purity of their drugs. Alternatively, they could send their substances to an international laboratory that provides high-quality analysis of any and all compounds.
Friedman worries that people may take a huge dose of LSD when they only meant to take a little. Although this could happen when microdosing with LSD tabs (which can potentially be laid unevenly), any competent microdoser will measure out their LSD volumetrically by dissolving the tabs in water, or microdose with known quantities of psilocybin mushrooms. Friedman's lack of knowledge demonstrates the importance of proper education regarding psychedelic use – before anyone microdoses, they should be aware of the basic facts or join a microdosing community so they are totally prepared for the experience.
Although it's true that we don't know much about the risks of microdosing, we know a lot about the benefits. Ignoring these positives just reinforces prejudice – the same prejudice that the drug-using community has been facing for decades, and that The Third Wave is working to eliminate by providing extensive psychedelic education and resources.
Warnings of non-existent dangers
Friedman's main argument for us to be cautious about psychedelics is "We just don't know." While it's true that we don't know about the hidden harms of psychedelics, this is a very unhelpful statement. There could be hidden harms behind a huge number of very beneficial behaviors: for example, we have a convincing array of anecdotal evidence to suggest that parachutes are useful when falling out of an airplane, but we still don't know about their potential hidden harms because there has never been a double-blind, randomised, placebo-controlled trial of their effectiveness. Likewise, everyone who has been eating five portions of fruit and veg every day may suddenly all drop dead from some very specific form of vitamin poisoning. Telling people to stop eating fruit and veg, or to jump out of airplanes without parachutes, based on a fear of hidden harms, is clearly an inane thing to do.
Although we can never know with absolute clarity whether there are significant harms associated with psychedelic use, we're pretty damn confident that there aren't. Many native peoples have used psychedelics for millennia without any associated harms. For the past fifty years, psychedelics have been used (and abused) without any apparent large-scale, long-term downsides. An absolute flood of recent scientific research has not produced one instance of serious harm from psychedelics administered responsibly in a clinical environment.
The statement that "Bad trips and flashbacks occur with some frequency in recreational users" reveals that Friedman doesn't want to mention the statistics – only around 5% of people who take psychedelics experience anything resembling flashbacks, and it's mostly in the form of mild, non-traumatic visual phenomena that fade rapidly. If psychedelics are taken responsibly, with control over set and setting (as is done in clinical studies), we can minimize the occurrence of long-term visual effects.
Even in the worst circumstances, with repeated high-dose administrations of psychedelics to patients with previous mental health problems (as was done in 1960s Denmark), relatively few long-term harms can be attributed directly to the psychedelics themselves.
Friedman brushes off findings like these by saying that they're either short-term clinical studies or surveys based on self-reporting. However many of these "short-term" clinical studies have follow-ups years down the line and still produce no evidence of harm. Additionally, although self-reporting surveys aren't ideal, they're the best way of screening the largest possible number of drug users and turn up scant evidence of long-term harm from psychedelic use.
Friedman says that "There is little question from clinical experience that psychedelics can be behaviorally toxic". This is a vague statement and doesn't tell us anything. If Friedman means that people use psychedelics as part of their daily lifestyle, then the same goes for things like coffee, sex, work and just about anything else you can think of.
The argument "we just don't know yet" simply falls flat. If psychedelics did possess seriously harmful properties, we would know by now. What we do know, with considerable certainty, is that psychedelics can benefit people who suffer from some of the most debilitating mental conditions in the world.
Scientists aren't working hard enough
The 'pathological paradigm' is a condition caused by the current state of our prohibitive drug policy (we discuss it in detail with Dr. Stephen Bright here). It means that scientists are restricted from researching potentially therapeutic drugs that have no established medical value. But there is no established medical value because the drug has not been researched due to its prohibition. It's a catch-22 holding back medical progress and restricting patients from life-saving treatments.
We'd expect that a clinician like Friedman would be quick to criticize the pathological paradigm and stand against any situation that prohibited scientific advancement. However, according to Friedman, Stephen Ross and similar researchers simply aren't trying hard enough to research their schedule I drugs – Friedman points to the example of researchers looking at another schedule I drug, cannabis, without too much apparent difficulty.
Firstly, this is entirely ignoring the differences between cannabis and psilocybin. Although they're both schedule I drugs, it's easier (although still prohibitively difficult) for researchers to get their hands on cannabis compared to psilocybin. Research on psilocybin is relatively rare compared to research on marijuana compounds and has to be supplied by specialist companies.
Secondly, just because some researchers are managing to get by despite the pathological paradigm does not mean that everything is fine. Research is being held back by drug policy, and that should be the issue here.
The cocaine argument
Friedman brings up a point that will frustrate many people familiar with psychedelics. He likens the popularity of cocaine in the 70s and 80s with the popularity of psychedelics now, and mentions that people were unaware of the dangers of cocaine in a similar way that we are unaware of the dangers of psychedelics.
Not only does this show that Friedman has no clue what he's talking about (the differences between psychedelics and cocaine are monumental), he is also absolutely wrong. There was clear evidence, as early as 1968, that cocaine had addictive potential. There was also convincing evidence, even from small studies, that cocaine possessed cardiovascular toxicity.
Whether or not people listened to the evidence at the time (the availability of scientific findings to the public has changed a lot since the 70s) is irrelevant to the argument about psychedelics. If psychedelics were toxic in any way, even in the long term, we would know about it by now. Cocaine use spiked in the 70s and 80s, and scientists immediately discovered its toxicity. Psychedelic use has been around for millennia in traditional settings, and for half a century in the modern world, and there is no evidence of harm – certainly nowhere near the level of damage that can be caused by cocaine.
Friedman's stance is wrong, immoral and harmful
Friedman closes his article by stating that he thinks psychedelics will find more use in the investigation of altered states of consciousness. This is mind-boggling to me. Friedman believes that psychedelics have hidden harms, which makes them unsuitable to give to people suffering from untreatable depression, but nevertheless thinks that they are fine to give to willing participants in studies of consciousness? What kind of a bizarre line in the sand is that?
Sure, we don't fully understand psychedelics. I admit that. But we understand them enough to know that they are a potential treatment. We understand that we should not deny them to suffering people.
Are the potential dangers of psychedelics honestly worse than the harms of depression? I find that hard to imagine. I think we can conclusively say that it is immoral to withhold these potentially highly effective, and almost certainly harmless substances from people in need.
Drug policy, LSD, Psilocybin
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Beautiful. Love all your posts and regularly check in every day here. Please, please keep up the great work!


Following the preferred uprisings that swept around the Arab international starting in 2010, defense force remained pivotal actors in politics through the area. As demonstrators began to problem entrenched autocratic rulers in Tunis, Cairo, Sana'a, and Manama, the militaries stormed again into the limelight and mostly made up our minds even if any given ruler survived the protests. In Tunisia, Egypt, and Yemen, senior officials pulled clear of their presidents, whereas in Algeria, Bahrain, and Syria, they didn't. extra vital, army officials took command in shaping the hot order and clash trajectories all through that region.
Armies and Insurgencies within the Arab Spring explores the crucial difficulties surrounding the function of militia within the modern Arab international. How and why do army apparatuses actively interfere in politics? What explains the truth that in a few international locations, army officials and rank-and-file take steps to safeguard an incumbent, whereas in others they disorder and chorus from suppressing well known protest? What are the institutional legacies of the military's engagement in the course of, and within the instant aftermath of, mass uprisings?
Focusing on those questions, editors Holger Albrecht, Aurel Croissant, and Fred H. Lawson have equipped Armies and Insurgencies within the Arab Spring into 3 sections. the 1st employs case stories to make comparisons inside of and among areas; the second one examines army engagements within the Arab uprisings in Yemen, Bahrain, and Syria; and the 3rd seems at political advancements following the cresting of the protest wave in Egypt, Tunisia, Libya, and the Gulf. the gathering promotes larger knowing not just of the actual background of army engagement within the Arab Spring but additionally of vital features of the transformation of political-military family members in different areas of the modern world.
What shapes political habit extra: the occasions within which participants locate themselves, or the inner mental makeup—beliefs, values, and so on—of these members? this can be probably the top department in the mental research of politics this present day. this article presents a concise, readable, and conceptually-organized advent to the subject of political psychology by means of studying this very query.
This edited quantity seeks to suggest and view various, even though similar, serious responses to fashionable cultures of warfare between different cultural practices of statecraft. Taken jointly, those essays current an area of artistic engagement with the political and draw on a huge variety of cultural contexts and genres of expressions to impress the pondering that exceeds the normal tales and practices of diplomacy.
As a hybrid regime, Hong Kong has been ruled by way of a state-business alliance because the colonial period. although, because the handover in 1997, the transformation of Hong Kong's political and socio-economic surroundings has eroded the stipulations that supported a potential state-business alliance. This state-business alliance, which used to be an answer for Hong Kong's governance, has now turn into a political burden, instead of a political asset, to the post-colonial Hong Kong nation.
From Egypt to South Africa, Nigeria to Ethiopia, a brand new strength for political swap is rising throughout Africa: renowned protest. common city uprisings via early life, the unemployed, alternate unions, activists, writers, artists, and spiritual teams are demanding injustice and inequality. what's riding this new wave of protest?


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Claus Larsen-Jensen (* 9. Mai 1953 in Kopenhagen) ist ein dänischer Politiker der Socialdemokraterne.

Leben
Larsen-Jensen studierte an der Universität Kopenhagen. Von 1991 bis 1994 und von 1998 bis 2005 gehörte er dem Folketing an. Am 13. Dezember 2013 ist er in das Europäische Parlament nachgerückt.

Larsen-Jensen ist verheiratet mit der sozialdemokratischen Politikerin und ehemaligen Bürgermeisterin der Kopenhagen Kommune Winnie Larsen-Jensen.

Weblinks

Einzelnachweise

Mitglied des Europäischen Parlaments für Dänemark
Folketingsabgeordneter (20. Jahrhundert)
Folketingsabgeordneter (21. Jahrhundert)
Socialdemokraterne-Mitglied
Däne
Geboren 1953
Mann

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Husbands is the third film from maverick independent filmmaker John Cassavetes following Shadows and Faces, his compromised studio-made diptych of Too Late Blues and A Child Is Waiting having been largely written out of film history. Recently released by Park Circus and still criminally unavailable on DVD in the UK, Husbands is a challenging tour de force that is too little seen.
Husbands, which has a subtitle "A Comedy About Life, Death and Freedom", is about three men (Peter Falk, Ben Gazzara, who both died recently, and John Cassavetes himself) left shell-shocked after the death of a mutual friend. Married with children, the three men yearn for more freedom and ultimately use the death of their friend as an excuse to have one last hedonistic blowout before going back home.
As is probably clear from the above synopsis, the film follows three insecure men who are still children at heart, characters which are much too often seen in today's Judd Apatow and Todd Phillips-inflected cinema – after all, Grown Ups, sadly, could be this film's title. However, Cassavetes and his cast are much more interested in dissecting the man-child rather than sanctifying him as some kind of representation of masculine innocence, no matter how misogynistic and boorish he might be. As a result, you can watch Husbands without feeling dirty. But that does not mean it is an easy film to watch.
Like any cinematic maverick, Cassavetes wanted his audience to work and his films can be difficult, either by being unclear in terms of narrative and ultimate meaning. The audience is often left to decide a lot of things for themselves. However, what the film, and what all of Cassavetes' great films, lack in cohesion and coherence, they make up for in sheer innovation. No one really believes the myths of improvisation that surround his films, but the films of Cassavetes do yet remain remarkably haphazard and unpredictable. The tone will suddenly shift, nice characters suddenly do bad things and moments that once seemed trivial and throwaway reach incredible peaks of intensity. Ultimately, if Cassavetes' films have flaws, and audiences brought up on a mainly Hollywood diet would insist they do, it is because they are open to all levels of human experience, not just the ones that can be easily replicated and sealed off with a nice narrative bow. Cassavetes' films, and Husbands is no different, feature characters who feel real and many scenes feel incredibly true to life, mirroring life in all its incomprehensibility and unevenness.
Husbands is an extreme example of Cassavetes' style of filmmaking, although some might find it easier than others, one of the most rewarding things about his films being the range of responses they inspire. For me, Husbands is one of his more difficult films. It is also a film that is practically impossible to form an opinion of as it is playing. The film has be have finished and time has to have passed before your mind can come to a consensus on it. Many scenes will initially feel extremely superfluous, if not whole sections like the excursion to London, and the film may feel like it is never going to end, but afterwards it feels near impossible to pinpoint a scene that could have been excised without damaging the overall film. Cassavetes at his best was never easy and Husbands, love it or hate it, cringe at it, cry at it or laugh at it, is a classic of challenging and confrontational art.
As well as all that, it is very funny, with every scene, short or extended, gleefully exposing some comical facet of masculinity. The film is also packed with little nuances and incongruities, which will most likely reward repeat viewing, just as his masterpiece A Woman Under The Influence certainly does. Beneath the boisterous posturing that the three characters/actors use as macho fronts, there is a real desperation and sadness that is nearly always threatening to break through. That it never quite does is an indication of how out of touch with their feelings the three men are, a particular problem that thwarts at least one character in all of Cassavetes' great films. Husbands is a difficult watch, but it is incredibly recognisable in ways that few other films are.
However, as is always the case with Cassavetes, the most impressive and fascinating thing in Husbands is the acting. Falk, Gazzara and Cassavetes clown around a lot, but they never feel like they are acting and they never do the typical movie-exposition scene designed to let us as viewers in. They lay their characters, and themselves, bare but they never feel like anything less than real people going through real problems. The performances are incredibly evocative with, for example, Falk and Cassavetes saying all they need to say in summary with a almost-slapstick routine involving two big shopping bags full of gifts in the film's melancholic final moments. When the film is over, you are bewildered but you also know that you have been in the hands of actors with some very real talent. And afterwards, most other films will probably seem stilted and melodramatic, but mainly, and most damningly, fake.
Husbands, like all of Cassavetes' great films, exudes sincerity and real human emotions, the more complex the better. It might initially make little sense, but it is a remarkably multi-faceted and human work, with a great sense of humour and some of the best performances ever caught on film. It is a difficult film but it is a film made by people with genuine talent who, sadly, made too few films together. Each one, however, is a gem.


text:
A null corrector is an optical device used in the testing of large aspheric mirrors.  A spherical mirror of any size can be tested relatively easily using standard optical components such as laser, mirrors, beamsplitters, and converging lenses.  One method of doing this using a Shack cube is shown at the right, and many other setups are possible.  An interferometer test such as this one generates a contour map of the deviation of the surface from a perfect sphere, with the contours in units of half the wavelength used.  This is called a null test because when the mirror is perfect, the result is null (no contours at all).  If the result is not null, then the mirror is not perfect, and the pattern shows where the optician should polish the mirror to improve it.

However, the mirrors used in modern telescopes are not spherical – they are rotations of parabolas or hyperbolas, since these more complex shapes reduce optical aberrations and give a larger field of view. (See, for example, Ritchey-Chrétien telescope, or three-mirror anastigmats such as LSST.)   Non-spherical mirrors such as these will not give a null result when tested as above, and tests that give null results are strongly preferred (they require little interpretation, and the results translate directly to polishing requirements).  One solution is to introduce a null corrector, as shown in the second figure.  This consists of one or more lenses and/or mirrors introduced into the optical path that make the desired mirror look like a perfectly spherical mirror.  Using this device, the measured contour map now shows the difference from the desired shape instead of the difference from a sphere.  Now measurement and polishing can proceed just as in the spherical case.  This method is used in the manufacture of almost all large mirrors for modern telescopes.

Since the mirror will be ground to what the null corrector reports as the right prescription, it is critical that the null corrector be itself correct.  An error in building the null corrector led to the mirror in the Hubble Space Telescope being ground to the wrong shape.  Less famously, this has happened in other cases as well, such as the New Technology Telescope.  Originally, there was no easy way to test a null corrector, so mirror fabricators needed to take extra care that the lenses were correct and spaced correctly (this second part, spacing, was the source of the Hubble null corrector failure). With the advent of computer-generated holograms, it is now possible to create a hologram with the phase response of an arbitrary mirror.  Such a hologram can be made to analytically duplicate the phase response of the desired mirror, then be tested with the null corrector just as the real mirror would be tested.  If the combination looks like a spherical mirror to the interferometer, then both the null corrector and the hologram are correct with high probability, since the null corrector and the hologram are constructed independently by different procedures.  This procedure was used to test (and find an error in) the null corrector used for the MMT Observatory single-mirror retrofit.

References

Mirrors
Optical devices
Microscopy


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This topic contains 3 replies, has 4 voices, and was last updated by Anonymous 13 years, 6 months ago.
Does anyone have experience with this system?
I don't understand…what is the approach?
There seems to be very little about it other than their manifesto. Is it basically a mindset that you have towards scheduling, allowing for greater team interactivity and more allowance for change ??
I did it in college. I also had a project on Customer collaboration on how it can be a double ended sword… What Idora said, all methods have some advantages and some disadvantages…. Kent Beck has some good books on the subject if you're looking for detailed information.


The Department of Communication's nationally ranked graduate program is distinguished by its vibrant, prolific, nationally and internationally recognized faculty as well as a flexible but theoretically and methodologically grounded graduate curriculum that reflects our stengths within and across four of the Department's five areas of emphasis: Communicating Science, Health, Environment, and Risk (CommSHER); Critical/Cultural Studies; Digital Media; and Rhetoric. Please click the tabs below for more information on specific research areas represented in the Department and a list of associated faculty. Graduate students are encouraged to take full advantage of of the range of expertise and specialization that the Department offers by designing, in consultation with their committees, programs of study that draw upon any or all of these four areas, ensuring a tailored graduate training and education experience.
The Department of Communication at the University of Utah offers three graduate degrees in Communication: The master's degree (as either master of arts or master of science); the Master of Philosophy degree; and the Doctor of Philosophy. Please see the Department of Communication Graduate Handbook for more detailed information about each degree program.
The Master of Arts (MA) degree is distinguished from the Master of Science (MS) degree by virtue of language proficiency. Students who wish to earn an MA degree must be certified as possessing "standard proficiency" in a language other than English. The master's degree is designed as a two-year program, during which time master's students (MA or MS) must successfully complete coursework determined in consultation with and approved by their committees; master's students may choose a thesis or nonthesis (exams or project) option to complete their degrees.
The Master of Philosophy (MPhil) degree features the same requirements for admission and achievement as the Doctor of Philosophy, as described below, with the exception of the dissertation; there is no separate program for this degree.
The Doctor of Philosophy (PhD) is designed as a four-year program during which doctoral students must successfully complete coursework as determined in consultation with and approved by their committees; qualifying exams; prospectus; and dissertation.
The Department strives to fully fund all admitted graduate students who request funding when they apply to the graduate program, which facilitates students' success by immersing them in the Department culture and ensuring a commensurate cohort experience. Funding is offered in the form of teaching or research assistantships: full funding includes a full tuition waiver as well as an annual stipend (extra remuneration for summer teaching is not included in that base stipend), and is offered for two years for masters' students and four years for PhD students—commensurate with the timeline design of respective programs.
1. Statement of your personal and professional goals (approximately 800 words).
2. Academic writing sample no longer than 25 pages (i.e. term paper, thesis chapter, creative writing sample, published newspaper articles). The sample can be composed of multiple pieces, but must still be under the 25 page limit.
3. A curriculum vita or short resume.
The GRE General Test is all that is required.
Scores take 10-15 business days to process and must be sent to the University via the ETS. Schedule your test with this in mind. If the scores are not received and processed by the deadline, your application is considered incomplete.
5. Unofficial transcripts of all previous college and university coursework.
If accepted to the program, you will need to provide official transcripts to admissions.
6. The names and email addresses of three people who will write recommendations.
They will receive and electronic prompt to go in and upload their letters of recommendation.
Applications will be under consideration for next year's Fall Semester admission; there is no Spring or Summer admission.
GRE scores will be uploaded automatically when they are sent electronically by ETS.
Letters of Recommendation will uploaded once your recommenders submit their letters.
If you have official transcripts sent by the institution, they will be uploaded by the admissions department.
2. Submit payment for the application fee (fee is $55.00 for domestic students, $65.00 for international students). Applications will not be considered complete until the payment is processed.
In addition to the Application, materials and fee, International Students are also required to verify your English proficiency.
1. TOEFL or IELTS scores must be submitted to the Admissions Department by November 15th.
2. You can contact the international admissions department at iao@sa.utah.edu if you have further questions regarding submission of your scores.
1. The University of Utah begins processing I-20 Certificates of Eligibility for students after they have been admitted.
Please refer to the admissions site located here for the I-20 requirements.
Here is a recommended timeline that can assist you in assembling and submitting materials by the specified deadlines.
Speak to the people who are going to be writing your letters of recommendation.
Especially if they are professors, the end of the semester is a busy time and you want to make sure they are prepared.
Start preparing for your GRE.
To ensure your GRE scores are received by the Admissions department, take the test by this date.
Application and all materials due. Any application without all materials, recommendations, scores and fees completed will be considered incomplete.
The Graduate Committee generally convenes in late January to review applications and make admissions decisions. Applicants can expect to be notified of their status in early-mid February.


text:
Anjanette Comer (* 7. August 1939 in Dawson, Texas) ist eine US-amerikanische Schauspielerin. Sie spielte in den 1960er Jahren die weibliche Hauptrolle in Kinofilmen wie Tod in Hollywood, Südwest nach Sonora, 25 000 Dollar für einen Mann oder San Sebastian.

Leben und Karriere
Anjanette Comer wurde 1939 (andere Quellen sprechen von 1942) in Dawson im Bundesstaat Texas als Tochter von Rufus Franklin und Nola (Dell) Comer geboren. Als Teenager beteiligte sie sich an Basketball, Cheerleading und Schönheitswettbewerben. Nach dem Besuch der Baylor University in Waco und der University of Texas kam Anjanette Comer 18-jährig nach Kalifornien. Dort studierte sie Schauspiel für zwei Jahre am Pasadena Playhouse, um sich auf eine Karriere als Schauspielerin vorzubereiten.

Zu Beginn der 1960er Jahre spielte sie erste kleinere Parts in namhaften Fernsehserien wie Heat Wave, Dr. Kildare oder in Westernserien wie Rauchende Colts und Bonanza.

1964 gab sie ihr Spielfilmdebüt mit der weiblichen Hauptrolle in Delbert Manns Komödie Rasch, bevor es schmilzt an der Seite von George Maharis und Robert Morse, gefolgt 1965 von einer denkwürdigen Rolle in der Satire Tod in Hollywood von Regisseur Tony Richardson erneut neben dem Schauspieler Robert Morse. Dort spielte sie eine naive Leichenbestatterin.

Seit Mitte der 1960er Jahre war sie dann eine vielbeschäftigte Darstellerin in vielen US-amerikanischen Filmen wie in Sidney J. Furies Western Südwest nach Sonora wo sie an der Seite von Marlon Brando spielte. 1967 hatte sie die weibliche Hauptrolle in Ron Winstons Drama 25 000 Dollar für einen Mann neben Robert Wagner. 1968 besetzte sie Henri Verneuil in seinem Western San Sebastian zwischen Schauspielern wie Anthony Quinn und Charles Bronson. Es folgten Filme wie John Updikes Kinoversion Nichts wie weg, Rabbit. 1971 Sidney Hayers Jagd durchs Feuer als weiblicher Co-Star von Chad Everett. Im Anschluss daran nahm sie Rollen in Horrorfilmen wie Die Rache der 1000 Katzen oder in Ted Posts The Baby an. In Alan Arkins Komödie Es brennt an allen Ecken trat sie 1977 neben Schauspielern wie Rob Reiner oder Vincent Gardenia auf.

Seit den 1970er, 1980er, 1990er und 2000er Jahren spielte sie überwiegend in TV-Filmen und populären Fernsehserien und man sah Comer nur noch vereinzelt in Kinofilmproduktionen. Bereits 1964 hatte sie eine Gastrolle in Bonanza.1972 spielte sie in einer Episode von Columbo mit Peter Falk. Danach folgten Rollen in namhaften Fernsehserien wie Petrocelli, Harry O, Die knallharten Fünf, Die Küste der Ganoven, Bumpers Revier, Baretta, Mike Hammer, Hotel, Jake und McCabe, Perry Mason, Profiler oder Practice – Die Anwälte

Anjanette Comers Filmkarriere umfasst rund 60 internationale Kino-, Fernsehfilme und Fernsehserien. Anjanette Comer war in erster Ehe mit dem Schauspieler Walter Koenig und von 1976 bis 1983 mit dem Drehbuchautor Robert Klane verheiratet.

Ihr Onkel war der vierfach Oscar-prämierte Szenenbildner in Hollywood Sam Comer.

Filmografie (Auswahl)
 1964: Rasch, bevor es schmilzt (Quick Before It Melts)
 1965: Tod in Hollywood (The Loved One)
 1966: Südwest nach Sonora (The Appaloosa)
 1967: 25 000 Dollar für einen Mann (Banning)
 1968: San Sebastian (La bataille de San Sebastian)
 1968: In Enemy Country
 1970: Nichts wie weg, Rabbit (Rabbit, Run)
 1971: Jagd durchs Feuer (The Firechasers)
 1972: Columbo: Etüde in Schwarz (Columbo: Etude in black)
 1972: Die Rache der 1000 Katzen (La noche de los mil gatos)
 1972, 1973: Polizeiarzt Simon Lark (Dr. Simon Locke, Fernsehserie, 2 Folgen)
 1973: The Baby
 1975: Der Gangsterboss von New York (Lepke)
 1977: Es brennt an allen Ecken (Fire Sale)
 1980: Barnaby Jones (Fernsehserie, 1 Folge)
 1992: Im Bann des Voodoos (Netherworld)
 1995: Die Kehrseite der Medaille (Underneath)
 2003: Screen Door Jesus
 2011: A Bird of the Air

Literatur
 Anjanette Comer in: John Willis' Screen World, Band 27, von John A. Willis, Crown, 1976, Seite 218

Weblinks

 Biographie von Anjanette Comer in The New York Times

Einzelnachweise

Filmschauspieler
US-Amerikaner
Geboren 1939
Frau


text:
Iran Offers to Fulfill Iraq's Air Defense Needs
By Editor on 24th June 2019 in Politics, Security
A top commander voiced Iran's readiness to provide neighboring Iraq with whatever means necessary for air defense.
In comments on Sunday, Commander of Khatam al-Anbia Anti-Aircraft Base of the Iranian Army, Brigadier General Alireza Sabahi Fard, said the Iranian Air Defense is fully prepared to satisfy Iraq's air defense demands in all areas.
By relying on local experts, the Iranian Air Defense is ready to help Iraq in manufacturing and providing technical support for various air defense systems, the Iranian general said at a meeting with Major General Tariq Abbas Ibrahim Abdul Hussein, chairman of the Iran-Iraq joint commission, held in Tehran.
Sabahi Fard also noted that the Iranian technicians have manufactured a whole host of air defense systems, including tactical and stationary radars, artillery and missile weapons, signal and data collecting equipment, electronic warfare gear, and drones for missions and applications in diverse frequencies and ranges.
"We are ready to form expert committees in all spheres to pave the way for the launch and promotion of mutual cooperation," the Iranian commander added.
For his part, the Iraqi general hailed Iran's advances in the air defense industry, saying Iraqi military delegations have been acquainted with the Islamic Republic's great capabilities after a series of visits to Iran.
The Iraqi commander also expressed his country's willingness to work with Iranian air defense experts for manufacturing equipment, training, and technical support in various fields, such as electronic warfare, radars, visual monitoring, command and control, radar-related calculations, and software systems.
In April, Chief of Staff of the Iranian Armed Forces Major General Mohammad Hossein Baqeri said Tehran and Baghdad have agreed to launch air defense cooperation to combat possible threats to Iran's western border.
Later in May, Commander of Iraq's Navy Major General Ahmed Jasim Maarij and Commander of the Islamic Revolution Guards Corps (IRGC) Navy Rear Admiral Ali Reza Tangsiri met in Tehran to discuss promoting defense cooperation in the naval sphere, forming a joint commission of naval cooperation, enhancing coordination between the two navies, holding joint educational, scientific and research courses, sharing academic experiences, and staging joint naval exercises.
In July 2017, Iran and Iraq signed an agreement to boost military cooperation in a host of fields, including counterterrorism.
Based on the deal, Tehran and Baghdad try to promote interaction and share experiences in the fight against terrorism and extremism, work together to ensure border security, and provide each other with training and logistical, technical and military support.
(Source: Tasnim, under Creative Commons licence)
Iran Eyes Closer Military Cooperation with Iraq Iran Plan for Air Defense Cooperation with Iraq Iran Urges Closer Military Ties with Iraq Iran, Iraq Coordinate Plans to Dredge Border River
Iran "turning Iraq into Battleground against US"
Exxon's $53bn Iraq deal "in Difficulty"
Tags: featured, Iran, Islamic Revolutionary Guards Corp (IRGC), mn


text:
import { generateGuid } from '../../util/helpers';
import { makeItemSelector } from '../../util/selectors';
import { formatUser } from '../../util/format';

const coreActions = require('../core/actions');
const uiActions = require('../ui/actions');

export function set(data) {
  return {
    type: 'GENIUS_SET',
    data,
  };
}

/**
 * Send an ajax request to the Genius API
 *
 * @param dispatch obj
 * @param getState obj
 * @param endpoint string = the url to query (ie /song/:id)
 * @param method string
 * @param data mixed = request payload
 * @return Promise
 * */
const sendRequest = (dispatch, getState, endpoint, method = 'GET', data = false) => new Promise((resolve, reject) => {
  if (endpoint.startsWith('https://') || endpoint.startsWith('http://')) {
    var url = endpoint;
  } else {
    var url = `https://api.genius.com/${endpoint}`;
    if (getState().genius.access_token) {
      url += `?access_token=${getState().genius.access_token}`;
    }
  }

  if (data) {
    url += `&${data}`;
  }

  // create our ajax request config
  const config = {
    method,
    url,
    timeout: 30000,
    crossDomain: true,
  };

  // only if we've got data do we add it to the request (this prevents appending of "&false" to the URL)
  if (data) {
    if (typeof (data) === 'string') {
      config.data = data;
    } else {
      config.data = JSON.stringify(data);
    }
  }

  // add reference to loader queue
  const loader_key = generateGuid();
  dispatch(uiActions.startLoading(loader_key, `genius_${endpoint}`));

  function status(response) {
    dispatch(uiActions.stopLoading(loader_key));

    if (response.status >= 200 && response.status < 300) {
      return Promise.resolve(response);
    }
    return Promise.reject(new Error(response.statusText));
  }

  fetch(url, config)
    .then(status)
    .then((response) => response.json())
    .then((data) => {
      const {
        meta: { status },
        response,
      } = data;
      if (status >= 200 && status < 300 && response) {
        resolve(response);
      } else {
        reject({
          config,
          xhr,
          status,
          error,
        });
      }
    })
    .catch((error) => {
      reject(error);
    });
});

/**
 * Handle authorization process
 * */

export function authorizationGranted(data) {
  return {
    type: 'GENIUS_AUTHORIZATION_GRANTED',
    data,
  };
}

export function revokeAuthorization() {
  return {
    type: 'GENIUS_AUTHORIZATION_REVOKED',
  };
}

export function importAuthorization(authorization) {
  return {
    type: 'GENIUS_IMPORT_AUTHORIZATION',
    authorization,
  };
}

/**
 * Get current user
 * */
export function getMe() {
  return (dispatch, getState) => {
    sendRequest(dispatch, getState, 'account')
      .then(
        (response) => {
          const me = formatUser(response.user);
          dispatch({
            type: 'GENIUS_ME_LOADED',
            me: {
              ...me,
              uri: `genius:user:${me.id}`,
            },
          });
        },
        (error) => {
          dispatch(coreActions.handleException(
            'Could not load your Genius profile',
            error,
          ));
        },
      );
  };
}

/**
 * Extract lyrics from a page
 * We don't get the lyrics in the API, so we need to 'scrape' the HTML page instead
 *
 * @param uri = track uri
 * @param path = String, the relative API path for the HTML lyrics
 * */
export function getTrackLyrics(uri, path) {
  return (dispatch, getState) => {
    dispatch(coreActions.itemLoaded({
      uri,
      lyrics: undefined,
    }));

    const url = `//${getState().mopidy.host}:${getState().mopidy.port}/iris/http/get_lyrics?path=${path}&connection_id=${getState().pusher.connection_id}`;
    const config = {
      method: 'GET',
      timeout: 10000,
    };

    // add reference to loader queue
    const loader_key = generateGuid();
    dispatch(uiActions.startLoading(loader_key, `genius_get_lyrics_${uri}`));

    function status(response) {
      dispatch(uiActions.stopLoading(loader_key));

      if (response.status >= 200 && response.status < 300) {
        return Promise.resolve(response);
      }
      return Promise.reject(new Error(response.statusText));
    }

    fetch(url, config)
      .then(status)
      .then((response) => response.json())
      .then((data) => {
        if (data.result) {
          const html = $(data.result);
          // Give the JS thread a moment to render the complex page (lots of JS within it)
          setTimeout(() => {
            let lyrics = html.find('div[class^="Lyrics__Container"], div.lyrics');
            if (lyrics.length > 0) {
              lyrics = lyrics.first();
              lyrics.find('a').replaceWith((k, v) => v);

              let lyrics_html = lyrics.html();
              lyrics_html = lyrics_html.replace(/(\[)/g, '[');
              lyrics_html = lyrics_html.replace(/(\])/g, ']');

              dispatch(coreActions.itemLoaded({
                uri,
                lyrics: lyrics_html,
                lyrics_path: path,
              }));
            }
          }, 500);
        } else {
          dispatch(coreActions.handleException(
            'Could not get track lyrics',
            data.error,
          ));
        }
      })
      .catch((error) => {
        dispatch(coreActions.handleException(
          'Could not get track lyrics',
          error,
        ));
      });
  };
}

export function findTrackLyrics(uri) {
  return (dispatch, getState) => {
    const selector = makeItemSelector(uri);
    const track = selector(getState());
    if (!track || !track.artists) {
      return;
    }

    const loader_key = generateGuid();
    dispatch(uiActions.startLoading(loader_key, `genius_find_lyrics_${uri}`));

    let query = '';
    query += `${track.artists[0].name} `;
    query += track.name;
    query = query.toLowerCase();
    query = query.replace(/\([^)]*\) */g, ''); // anything in circle-braces
    query = query.replace(/\([^[]*\] */g, ''); // anything in square-braces
    query = query.replace(/(?= - ).*$/g, ''); // remove anything after and including " - "

    sendRequest(dispatch, getState, 'search', 'GET', `q=${encodeURIComponent(query)}`)
      .then(
        (response) => {
          if (response.hits && response.hits.length > 0) {
            const standardized_track_artist_name = track.artists[0].name.toLowerCase();
            const lyrics_results = [];
            for (let i = 0; i < response.hits.length; i++) {
              const result = response.hits[i].result;
              const result_artist_name = result.primary_artist ? result.primary_artist.name : null;
              if (result_artist_name &&
                  result_artist_name.toLowerCase() === standardized_track_artist_name) {
                lyrics_results.push({
                  title: result.full_title,
                  url: result.url,
                  path: result.path,
                });
              }
            }
            dispatch(coreActions.itemLoaded({
              uri: track.uri,
              lyrics_results,
            }));

            // Immediately go and get the first result's lyrics
            const lyrics_result = lyrics_results[0];
            dispatch(getTrackLyrics(track.uri, lyrics_result.path));
          }
          dispatch(uiActions.stopLoading(loader_key));
        },
        (error) => {
          dispatch(uiActions.stopLoading(loader_key));
          dispatch(coreActions.handleException(
            'Could not search for track lyrics',
            error,
          ));
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redpajama_set_name: RedPajamaGithub


One of the most unique aspects of baseball is how the structure of the game allows for accurate and extensive advanced analytics. The game isn't played at the same fluent pace as hockey or basketball. The structure and pace of a baseball game allows experts to break down each at-bat and individual play with a rigid set of parameters. The advanced statistics community has grown over the years with countless sites offering their own analysis that can really help when it comes to predicting win probabilities and the outcomes of baseball games. Here is a look at the best five sites to use when it comes to betting on baseball.
Fangraphs produces dozens of articles every day with a significant focus on advanced analytics. It's cutting edge information provides greater insight in to what is happening on the field as well as why it is happening. Fangraphs also provides a solid database with each player season divided in dozens of ways with just about every accessible element of the game dissected. They also provide articles that offer insight in to how you should approach the material that they post. Fangraphs is an excellent starting point for anybody looking for insight and information that can be used to bet on baseball.
BaseballSavant is the perfect complement to Fangraphs in that it employs StatCast technology. This technology is capable of gathering and displaying previously immeasurable aspects of the game. StatCast collects the data using a series of high-resolution optical cameras along with radar equipment that has been installed in 30 MLB ballparks. BaseballSavant can deliver us with this type of information ranging from how hard a ball is hit to the exact locations of each pitch thrown over the course of a game.
Widely considered the ultimate online encyclopedia for baseball, Brooksbaseball will tell you everything about a pitcher using PITCHFX data to paint an incredibly clear picture of how a pitcher threw in each start of their career. Brooksbaseball breaks down individual starts and allows for an in-depth look at each performance from a pitcher. For example, every single pitch that Clayton Kershaw has every thrown has been tracked and charted to make it available for analysis by everyday fans.
ESPN won't provide the same advanced statistical analysis that the first three sites on this list provide. However, they will give you the breaking news and insight that you need to accurately predict the win probabilities in baseball. If a starting pitcher is injured in warmups and scratched from his start, then ESPN will be the place you find this information in order to adjust your wager. ESPN will also provide the simpler details including schedule, standings and updated box scores for each game so that you can follow along from wherever you are.
The final site that all bettors should use for handicapping baseball is Covers.com, which provides excellent insight from a betting perspective. Covers.com delivers a wide range of important statistics, trends and insight from a betting perspective with easily accessible details that include how teams perform at home compared to on the road, how they perform as the favorite or the underdog and how they have fared in terms of going over or under the totals listed for their games. The wide range of baseball betting information that Covers.com provides is the perfect complement to the other sources on this list to round out the best sites to use when it comes to betting on baseball.


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text:
Pia Gottschaller
Dr Pia Gottschaller is a technical art historian with a focus on modern and contemporary art from Europe, North America and Latin America.
Notes on Seeing Concrete Art Under Ultraviolet Light
This article is part of a series of texts that were originally commissioned by and published in The Getty Iris on occasion of the exhibition Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros.
Left: Concreto 37, 1956, Judith Lauand (Brazilian, 1922–). Alkyd on plywood, 30.4 × 30.4 × 5.5 cm. Colección Patricia Phelps de Cisneros. Right: Concreto 37 under UV illumination. © 2017 Artists Rights Society (ARS), New York / AUTVIS, Sao Paulo
The opening of the exhibition Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros marks an important moment in the years-long research project that preceded it.
Beginning in 2015, my colleagues and I at the Getty Conservation Institute had the unique opportunity to conduct the first-ever technical examination of 46 Concrete artworks from Argentina and Brazil on loan from the Colección Patricia Phelps de Cisneros. The exhibition and accompanying catalog present technical aspects of a selection of these works, from information on the many unusual support constructions to the artists' painting materials and techniques.
Making the Invisible Visible
Among the non-invasive examination techniques we employed for understanding how each work was made was the use of ultraviolet light (UV), also known as black light, which incites a colored fluorescence, or "glow," in certain materials and which allows us to see aspects of a work that remain invisible under regular illumination. Ultraviolet radiation was first discovered in 1801 by the German chemist Johann Wilhelm Ritter[1] and has found especially wide use in the medical profession. Since around 1925 it has been commercially available to the conservation profession.[2]
For works of art, the UV examination process involves positioning an ultraviolet lamp in front of the surface of a work in a dark room. A few artists' materials, depending on their chemical structure and condition, will briefly absorb ultraviolet radiation and then reflect some of this energy in visible light wavelengths (i.e., fluoresce). Most substances actually do not fluoresce, but many of the compounds that do fluoresce are organic and appear in paintings, such as aged linseed oil and natural resin varnishes.
The Fluorescence of Age
Generally speaking, the older the oil paint or varnish, the stronger its greenish fluorescence under UV. This characteristic green fluorescence can be observed in Concreto 37, a work by Judith Lauand from 1956, for which the artist chose an alkyd-based paint, found in many Brazilian Concrete works from this period (images above).
Alkyds are a form of polyester resin combined with drying oil, in this case with the addition of pine resin. Areas in which the white background paint was applied more densely appear as roughly circular forms under UV. The strong fluorescence witnessed in this work can be attributed to the presence of aged drying oil and resin.
A number of pigments are also known to fluoresce, such as genuine madder lake, which is found in Old Master paintings, and zinc white, which was widely used by Concrete artists in Latin America (for example in Concreto 37). But since binders and pigments are almost always encountered in a matrix and often in layers, rather than separately, it can be difficult to correctly assess the intensity and color of their fluorescence or absence thereof. For example, earth pigments in linseed oil, the most common binder in tube oil paints, have an inhibiting effect on the development of fluorescence and yellowing, whereas white lead and cobalt blue have a stimulating effect.[3] Apart from zinc white, the other main white pigment identified in the works in our study is titanium white, which neither inhibits nor enhances fluorescence, while zinc white by itself fluoresces pinkish or yellowish-green, depending on the exact UV light source and the kinds of impurities and extenders present.
The Other End of the Spectrum
The ultraviolet region of the electromagnetic spectrum lies just past the blue end of the visible spectrum, at 400nm, which means that ultraviolet radiation has shorter wavelengths than visible light, which is in the region of 400 to 700nm. At the other end of the electromagnetic spectrum is infrared, a region that extends from 700nm to 1mm. Since some pigments become transparent in the infrared region, but other materials do not—for example, carbon-based underdrawings— pentimenti (compositional changes) and faded or obscured inscriptions can often be detected.
Left: Alternado 2, 1957, Hermelindo Fiaminghi (Brazilian, 1920–2004). Alkyd on hardboard, 61.9 × 62 × 4.5 cm (framed). New York, The Museum of Modern Art. Promised gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Catalina Cisneros-Santiago. Right: Detail of bottom left corner of Alternado 2 in infrared light: earlier signature visible in lower left corner, now covered with white paint.
Infrared reflectography (IRR), another important non-invasive examination technique in our study, helped us reveal for example Hermelindo Fiaminghi's earlier signature in the bottom left corner of his painting Alternado 2 from 1957. Fiaminghi at one point concealed this first pencil signature with white paint, before adding a second, still-visible signature in the top right corner.[4]
Informed Interpretation
Due to the complexity of a painting structure, none of these examination techniques alone allows unequivocal identification of a binder, pigment, or varnish, nor a comprehensive understanding of the paint layer sequences in any given work. Hence every approach is combined with close visual examination under a microscope, pigment and binder analysis, paint cross sections, as well as information from other sources such as artists' interviews and archival photographs.
There is also the misconception, even among some art professionals, that scientific analysis is a straightforward process where a paint sample is simply inserted into an instrument (such as a Fourier-transform Infrared Spectrometer) and the resulting spectrum tells the scientist what the material is. In reality, analysis usually identifies several components present in a paint sample, consisting of a mixture of binder, pigment, and other additives, which requires the informed interpretation by conservation scientists and conservators.
Retouching The Past
The same complexity applies to the interpretation of UV images because the multitude of layers and paint components interact and interfere with each other as they age. In addition, conservation treatments such as varnish removals/applications or retouchings can also leave traces that are visible under ultraviolet illumination. Retouchings and overpaint often appear as black areas, since the binding media have not yet aged as much as the original materials and since the conservation materials used differ from the ones found in the original.
Left: Concreto 61, 1957, Judith Lauand (Brazilian, 1922–). Alkyd on hardboard, 60.2 × 60.2 × 5 cm. New York, The Museum of Modern Art. Promised gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Robert Menschel & Janet Wallach. Right: Concreto 61 under UV illumination.
The ultraviolet image of Concreto 61, a work by Judith Lauand from 1957, shows such small black areas of retouching throughout the surface, some of them clustered around the edges where more paint abrasion is likely to occur.
These small interventions by a conservator are nothing unusual for a painting more than fifty years old. The overall greenish fluorescence of the surface (and examination with a microscope) indicates the presence of an aged varnish layer, which seems to have been applied on top of an earlier campaign of retouchings, and as a result, they appear grey, rather than deep black. They are located primarily along the top edge and in the bottom right corner and probably contain titanium white, which also appears grey under UV.
At an unknown date, Objeto ativo (amarelo) by Willys de Castro from 1959–60 sustained some damage in the right half of the painting.
Top: Objeto ativo (amarelo), 1959–60, Willys de Castro (Brazilian, 1926–88). Oil on canvas on hardboard, 35 × 70 × 1.8 cm. New York, The Museum of Modern Art. Promised gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Lord and Lady Foster. Bottom: Objeto ativo (amarelo) under UV illumination.
The two areas, one an oblong vertical shape toward the left and the other a small circular shape in the top right corner, were retouched very carefully in many parallel, horizontal strokes.
Paint cross section of Objeto ativo (amarelo), from top center edge of work, ca. 200x magnification. At the bottom is a white ground layer, followed by a homogenous yellow paint layer and above, at top, a more coarsely pigmented yellow paint layer.
To the naked eye, they are only barely visible in raking light due to a slightly higher gloss in these areas. The entire surface was then repainted with yellow oil paint (linseed oil mixed with pine resin), which, based on its yellowish fluorescence, has already oxidized to some degree, although the fluorescence might partially derive from the original white ground and paint layers underneath, which are also based on linseed oil (but with no pine resin added).
In order to better characterize the two yellow layers, a paint cross section was taken from the center top edge of the work.
The layers can be clearly distinguished because the lower, first paint layer above the white ground is homogeneous with only one yellow synthetic organic pigment present, Hansa Yellow (PY3), while the upper layer is more coarsely pigmented and also contains tiny blue particles. The yellow pigment in the upper layer is Arylide Yellow (PY4). The bright fluorescence of the blue band and square can be attributed to the presence of cobalt blue, which as mentioned above has a stimulating effect on the aging of linseed oil. The brightness of fluorescence in these areas is further enhanced by the fluorescence of the white ground underneath.[5]
Accepting Ambiguity
In Objeto plástico by Geraldo de Barros from 1952, the situation is somewhat more puzzling.
Left: Objeto plástico, 1952, Geraldo de Barros (Brazilian, 1923–98). Alkyd on wood, 36.8 × 45.1 × 2.4 cm. Colección Patricia Phelps de Cisneros. Right: Objeto plástico under UV illumination.
The red, ochre, and black shapes on top of a white background all fluoresce vibrantly in red, yellow, and green under UV. Some grey retouchings can also be seen dotted around the perimeter of the surface. The pigment class of cadmium pigments—available in shades of yellow, orange, and red—was frequently used by painters in the 1950s and is also known to exhibit fluorescence under UV. But because of their toxicity in powder form, cadmium pigments have been replaced over time with synthetic organic pigments. The three main classes of synthetic organic pigments used in artists' paints today are quinacridone, azo, and phthalocyanine compounds, which also display strong UV fluorescence under certain conditions.[6]
Photomicrograph of the red longitudinal shape in the center of Objeto plástico. The uppermost red paint layer sits on top of a white layer. Beneath the white layer a black paint layer can be seen in the paint cracks and along the edges of the form.
The pigments of this work have not yet been identified in detail, except for the red paint, which is a synthetic organic pigment. The most striking green fluorescence of the black pigment is less straightforward to understand. There are no black pigments, natural or synthetic, which are known to fluoresce.
Close examination with a microscope revealed that the shapes, all of which stand proud, were first painted in white, on top of the white background, followed by ochre, red, and black, however not in the current color scheme.
Presumably dissatisfied with the initial outcome, de Barros added another white layer over the entire surface to provide a "blank slate" for the final color scheme, in which only the ochre parallelogram in the bottom left quarter remained the same color. The red shapes and ochre vector were initially painted black, and the now-black shapes were initially red.
One of the underlying white layers, alkyd-based like the paint of the shapes, can be seen to strongly fluoresce underneath the edges of the uppermost colored layers, which very likely created interference with the surface layers. Based on the distribution of fluorescence in all of the shapes, my colleagues and I concluded that perhaps an additional dilute varnish layer was applied on top. This would also explain why the thinnest section of the black shape on the right does not fluoresce: the medium was not applied consistently.
Anomalies in Paint
Left: Cromática 6, 1960, Aluísio Carvão (Brazilian, 1920–2001). Alkyd, drying oil, and beeswax on hardboard, 26.4 × 34 × 1.5 cm. Colección Patricia Phelps de Cisneros. Right: Cromática 6 under UV illumination.
The final object, a work by Aluísio Carvão called Cromática 6 from 1960, displays a very interesting anomaly under UV. As can be seen above, there are a few small areas with irregular contours typical for liquids being splashed onto an uneven surface and that fluoresce a bright yellow under UV.
Paint cross section of Cromática 6, ca. 300x magnification, taken from the top left corner. Above a white ground layer, five ochre-colored paint layers can be seen, packed with colorless extenders such as gypsum and barium sulfate and contain only a few pigments, but with high tinting strength, such as zinc chromate, titanium white, as well as chrome yellow and an organic yellow pigment. The uppermost, extremely thin toning layer contains primarily titanium white and gypsum.
Scientific pigment analysis and cross sections show that the multiple paint layers are tightly packed with colorless extenders such as gypsum and barium sulfate and contain only a few pigments, but with high tinting strength, such as zinc chromate and titanium white, as well as chrome yellow and an organic yellow pigment.
The uppermost, extremely thin toning layer contains primarily titanium white and gypsum. In other words, with the exception of the tiny amounts of yellow organic pigment present underneath, the rest of the pigments cannot be considered contributors to the localized fluorescence. But the matte paint itself, which consists of alkyd, drying oil, and beeswax and was presumably mixed by Carvão himself, is heavily underbound, meaning there is very little paint medium present relative to the amount of pigments.
Because a hand-mixed paint is not as evenly dispersed as an industrially mixed paint, displacement and concentration of the oil components in the tide mark pattern indicative of a liquid state can happen more easily if, for example, a solvent is accidentally splashed onto the surface.
This speculation of how the tide marks might have been created is supported by the fact that these areas do not appear radically different from the surrounding paint surface under regular lighting conditions—in fact, only when one's attention is drawn to them can these small areas be seen to be characterized by a slightly noticeable decrease in granularity, due to a temporary solubilization and redistribution of the paint matrix.
We will never know exactly what or when this incident happened, but thankfully it does not detract in any way from the enjoyment of this beautiful, subtly wrought composition.
The six examples discussed here present a variety of phenomena that only become visible to us by accessing the invisible parts of the electromagnetic spectrum. The resulting images greatly inform our understanding of the making and the history of a work of art, but their interpretation often requires the combined expertise of an entire group of conservation professionals.
[1] Of the four bands of increasing energy, the long- or near-wave ultraviolet UVA radiation (320–400nm) is the most relevant for the examination of paintings.
See Rhona MacBeth, "The technical examination and documentation of easel paintings," in Conservation of Easel Paintings, eds. Joyce Hill Stoner and Rebecca Rushfield (Abingdon and New York: Routledge, 2012), 294.
[2] E. René de la Rie, "Fluorescence of Paint and Varnish Layers (Part I)," in Studies in Conservation 27 (1982), 2. De la Rie explains the differences between luminescence, fluorescence, and phosphorescence, but in the current context we can summarize the phenomena observed as "fluorescence."
[3] E. René de la Rie, "Fluorescence of Paint and Varnish Layers (Part III)," in Studies in Conservation 27 (1982), 102.
[4] The infrared image included in the exhibition catalogue on p. 92 was accidentally cropped, such that this earlier signature is no longer visible there. For an interpretation of what might have motivated Fiaminghi to overpaint the first signature, please refer to my essay "Making Concrete Art" in the exhibition catalogue.
[5] Given the exceptional manual skills of Willys de Castro, it is possible that he himself carried out this repainting campaign. However, the fact that the upper yellow layer partially extends onto the blue square on the right-hand edge (illustrated in a photomicrograph in the exhibition catalogue, p. 52), would speak against such an interpretation, for the same reasons.
[6] For a recent study of the fluorescence characteristics of azo and phthalocyanine pigments, see Martina Romani et al., "Hyperspectral Fluorescence for Organic Pigment Characterization in Contemporary Artwork," in Journal of Applied and Laser Spectroscopy, vol. 1, no. 1 (2014), 29–36.
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