I'm still a newbie to all of this and wanted some input by some people who have experience in this topic. What I want to know about is thread. Right now I'm only piecing and binding. Two questions about piecing. Cotton vs. polyester? Which is better and why or is it just a personal preference that I will have to decide upon. Also, brands. One brand better than the other, any brand to stay away from? The follow up question is for binding. Same question. Cotton vs polyester, any brand better than the rest. Any of the expensive ones worth the money.
I realize I'm probably going to get a variety of answers but I still want to hear what some seasoned peeps have to say. So if you have a minute, please let me know. Thanks so much.
It is a matter of personal preference. I use cotton thread now for the most part, but had used cotton/poly. In years past it did make a difference. For a good reference on threads check out Superior Threads web site. https://www.superiorthreads.com/ They have a lot of information about thread, charts for suggested threads to use for different applications.
Welcome Greg! Gee, there are as many opinions on these topics as there are choices! If you search the old messages here, you will find a number of conversations about all these topics. Personally, I do find there are differences in thread. Superior Threads makes some sweet stuff and their website can provide you with an enormous amount of info on thread... I do love Alex Anderson's thread line but it is pricey. That said, even though it may seem insignificant, consider (and another reason to be precise in cutting fabric) even 1/64 of an inch, over say 30 seams is nearly half an inch difference. And in quilting, half an inch is major.
When you ask cotton vs polyester, do you mean fabric? I prefer the name brands and I love batiks. If I am going to put hours and hours of work into a quilt, I want it to last. And I find the better fabrics have prettier designs. Just me though.
Hope you get more info to help you wade through all your choices! We are looking forward toseeing pictures of you projects.
my personal preference is cotton thread but have been known to use whatever is handy. for piecing and binding, i don't see that it makes a real difference. welcome to the board.
There are a lot of good threads to choose from and most use what their machine sews best with. My current favourite is Aurifil 50wt. It is strong but thin and sews like a dream. As for binding, I make my own from fabric the same weight and content of the quilt.
The wt and ply of a thread is more important then the type of thread. I think 50 wt 3ply thread is too heavy for piecing. Poly thread is stronger so it can be made thinner. Most top brands of piecing thread is poly. Most all bobbin thread used for bobbins is poly. I like cotton 2 ply 50 wt, like Aurifil for piecing. 70 wt poly for the bobbin. Superior threads has the best education site for threads and what needle size to use with each thread type.
For piecing I use a 50 wt from Superior Threads called "So Fine", I love it because it really sinks down into the seam, making it less bulky, and gives me a flatter seam....however I have been know to use anything that matches the color I need at the time.
As for thread, it seems there are lots of favorites . . . and some say their machines do better, with certain brands. My machine takes whatever I choose to feed it, with no problems. That said, my favorite is Superior So Fine! 50 wt, for piecing and quilting. Reason - it produces less lint and seems to blend into fabric, better. I also like that I can buy the cones and save some money!
Most top thread makers make both poly and cotton. Their usages is up to the user. I don't know of any thread designated piecing thread.
I don't know why there would be any reason to use cotton in the top and poly on the bottom when piecing.
I use Prescencia and Aurifil for piecing, quilting and hand finishing the binding. I have several different weights of both. They're both pretty low lint for cotton thread. I don't even own any poly thread.
Welcome from Canton, GA. Looks like you've already been given some good and useful info regarding thread. Don't forget to see what brand and fiber content your "machine" likes. I have a very finicky Pfaff machine that will like my thread choice one day then the next day refuse to sew with it. Also be aware of the lint produced from 100% cotton thread and the build up in your machine.
Here is what I have learned. Cotton will hold up better than polyester. Use the same kind of thread on like fabrics, cotton fabric and cotton thread. Polyester is said to cut thru the cotton fabric and it won't hold up as well in the long run. I don't know if this is true because I haven't tested it. Same thread in top for sewing as in the bobbin; lots less headaches when they match. I try to use mainly cotton thread when quilting and when piecing, I always use Aurifil. It is a 50wt 2ply thread. Its very strong and low lint. I started using it for piecing because I couldn't get my blocks to come out to the right size; the smaller the block with more seams the more off it would be. Having only 2 ply makes a big difference and now my blocks come out good. It's a good thread with lots of colors even though I normally use a natural color and then it blends in really good.
I'm not knocking polyester and use it when I'm embroidering or other things.
I second the recommendation that you read Superior's website, it has fabulous information. There is an "Education" tab that will give you tons of info about all different kinds of thread, which needles to use, .
I used to use Coats & Clark and Connecting Threads' Essentials, but recently switched to Bottom Line. It's 60 weight, strong, fine, sinks into the fabric. I LOVE it for hand applique and hand-binding. I avoid serger thread and embroidery thread; in my experience those two types of thread are not as strong.
Two things to keep in mind when you're using thread, no matter what kind or brand: thread weight and needle size. For thread, a smaller number equals a heavier thread. 40 wt is fairly heavy, 50 is about average and is what you'd normally see in garments, 60 is pretty fine. You want to make sure you're using a needle appropriate for the thread. If you are using a 40 wt thread, you will want to avoid using a needle with a smaller eye, because that thread will drag in the eye and shred.
I used to use 50wt 3ply thread for piecing, but once I tried Aurifil 50wt 2ply thread I was hooked! It's finer and smoother, seams press better, and I have better accuracy using it. Plus there is a lot less lint to deal with it and the bobbin doesn't have to be changed as often (because the thread is finer, the bobbin holds more of it).
For me, the main reason to use Aurifil on top and 60wt bobbin thread on the bobbin is cost. Threadart 60wt poly bobbin thread is $6 for 5,000 meters. Aurifil costs about 3 to 4 times as much. My one concern is that the poly might eventually cut through the cotton. I know that is not supposed to be a concern any more, but when I test the poly it is *really* strong and I know cotton thread can dry out over time.
I may eventually bite the bullet and pay to use only great quality cotton thread but, since my current level of quilting is not what I would consider even near heirloom quality, I'm not worrying about it right now.
I love Aurifil 50wt 2ply for quilting on my domestic machine, but it will not be strong enough for my machine frame setup. The seller told me that 40wt Aurifil will work well in the top, but 50wt will break. I believe on the machine frame setups it's common to use a thicker thread on top and a finer thread in the bobbin.
My bet is that Masterpiece thread from Superior (which is touted as a great piecing thread) is very similar to Aurifil 50wt 2ply, but I have not tried Masterpiece so can't be sure.
A lot has to do with the sewing machine. Some machines are persnickety - others not so much. One of my machines does not like Coats and Clark, the other doesn't mind. Another issue is lint. Polyester threads are not linty at all. Some cotton threads (like Connecting Threads) are quite linty. I generally use cotton thread for everything because I have tons of it. (Bought on sale.) The old rumor is that Polyester thread breaks the fabric but that myth has been debunked. I'd suggest that you try a few different types and see what you and your machine like. Then look out for sales.
For piecing, I LOVE Aurifil 50 wt cotton. For machine quilting (with my 15" Bailey) I use essential pro 3ply 70 wt polyester from Connecting Threads. I recently quilted a small piece (on my Singer 15-91) using size 70 bobbin thread and this thread became almost invisible, allowing the quilting itself to shine. I decided to give the bobbin thread a try after it was recommended by Karen McTavish in a class I took at the Machine Quilters Expo in Portland recently.
I've seen a lot of negativity about Coats-N-Clark thread lately, but I really haven't had a problem with it. A lot will depend on your machine. Some machines like some threads better than others. My vintage machines seem to handle just about any thread, with the exception of nylon invisible thread.
I use Aurifil or Presencia 50 wt as top thread and Bottom Line in the bobbin.
I love Signature threads. they are not expensive but have great quality and colors.
Superior Threads education clears up all the old wives tales and myths and use to be about thread.


Few things are as valuable to automobile owners as trustworthy and competent auto mechanics. The mechanics of St. Paul Auto are known for being both. Located in South St. Paul, Minnesota, St. Paul Auto is among the best auto mechanics in the area. Our team can complete a wide variety of repairs including engine repair and engine replacement. We understand that learning that your vehicle is in need of engine work is never what you want to hear. If you find that your vehicle's engine needs to be repaired or replaced, you can trust that you will be treated fairly and, maybe most importantly, that the service you receive will be done competently and professionally.
St. Paul Auto offers competitive prices on all their services, and when it comes to engine issues, this is one of our crew's specialties. The mechanics of St. Paul Auto appreciate the business their clients bring to them, and they further understand that the best way to maintain a strong client relationship is to demonstrate their appreciation for your repeat business. We work on all makes and models of vehicles and can also complete routine engine tune-ups on your car so that you can avoid a major repair or replacement. One of the keys to good engine maintenance, and good overall vehicle maintenance, is to create and follow a maintenance schedule that is right for your vehicle.
After you've taken your car to St. Paul Auto for the first time, you will understand that their experience and expertise covers nearly every aspect of car maintenance. St. Paul Auto will work with you to solve the problems you're having with your car. If you have a jalopy or a shiny new model, St. Paul wants you to feel confidence in the work they do on your car. If you live in the St. Paul area, you should consider bringing your car to us for excellent service and the assurance of fair treatment.
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This entry was posted in Auto Repair, Auto Shop, Engine, Fleet Maintenance, Vehicle Repairs and tagged engine diagnostics, engine problem, engine repair on June 8, 2017 by St. Paul Automotive.


Phil Jackson and the Knicks parted ways on June 28, 2017.
A koan is a paradox. It is a riddle or anecdote that, when contemplated, can bring enlightenment in revealing the limits of logical reasoning.
Former Bulls and Lakers coach Phil Jackson's tenure as president of the Knicks was one long koan, though it's not clear anyone's any more enlightened after his dismissal Wednesday than three years ago.
Has a man truly failed if he collects $60 million in doing so?
When a person who once derided Bulls general manager Jerry Krause as clumsy in his front-office dealings falls flat trying to walk in Krause's shoes, who's shown to be without grace?
Does disorganization alone win just 80 games over three seasons?
How many bad trades and ill-advised signings does it take to lose 166 games in three seasons?
Even if made of pure gold, can old championship rings be tarnished?
Knicks owner James Dolan is 62. Jackson is 71. Would it have been inappropriate for Dolan to yell "Hey old man, get out of my Garden"?
What kind of shape is a triangle offense that doesn't produce?
If Kristaps Porzingis' can upset Jackson when he doesn't book a postseason meeting, does the one-to-one conflict signal Jackson can take offense without a triangle?
When trying to convince others that that they want, say, Carmelo Anthony, does it make sense to talk down his value?
How does one win a Twitter war with LeBron James? Does it require a posse?
Jackson once fostered detente so Michael Jordan and Scottie Pippen could mesh with longtime foe Dennis Rodman for three Bulls titles. What does it say that Jackson no longer could get along with those under him while Rodman became a self-appointed emissary to North Korea?
Is a man now set to collect $24 million for doing nothing the definition of the grateful dead?
Do Knicks fans now know the sound of no hands clapping? Is it booing? Does it involve gesturing with a finger?
If Jackson had managed to sign former Bull Steve Kerr as Knicks coach instead of going with Derek Fisher, then Kurt Rambis, then Jeff Horancek … never mind, stupid question.


text:
module Api::DevicesHelper
end

redpajama_set_name: RedPajamaGithub


text:
Poverty and Women's Sacrifices in Stella Dallas (1937) and Wendy and Lucy (2008)
Fiona Probyn
"You don't get to hate it unless you love it": Joe Talbot and Jimmie Fails on The Last Black Man in San Francisco
Menzel, Jiří
Brendan Black
Korean Independent Films (and Youth) in Jeonju: The 12th Jeonju International Film Festival
Widescreen Worldwide edited by John Belton, Sheldon Hall and Steve Neale
The Castaways of Providence Street: On Luis Buñuel's The Exterminating Angel
Australian Cinema and Culture
"This Land is Mine/This Land is Me": Reconciling Harmonies in One Night the Moon
One ignores the local guide at one's peril, for he is telling us how to survive in this country, and survival depends not just on the right sort of physical treatment of the country, but also on what one says about it, writes about it, and the images one makes of it. (Benterrak, Muecke, Roe, 28)
Since the period films – or so-called 'AFC genre' – of the 1970s, historical landscape films have often been labelled anachronistic in a predominantly (sub)urban society such as Australia. In the 1990s, films such as Oscar and Lucinda (Gillian Armstrong, 1996) and A Country Life (Michael Blakemore, 1994), met with neither critical nor commercial acclaim, perhaps in part because they were deemed to be covering 'old territory'. However, it seems particularly pertinent that a contemporary Australian film about 'unfinished business' between black and white returns to the past and the (ongoing) issues of landscape and land ownership. Rachel Perkins' One Night the Moon (2001) demonstrates that far from being an "aesthetically exhausted impulse" (Dermody and Jacka, 37), as Dermody and Jacka have described it, the Australian period film represents 'unfinished business' when it comes to telling stories incorporating an indigenous perspective. The film is the result of collaboration between musicians, songwriters, and scriptwriters and indeed the necessity of collaboration between black and white is one of its principle themes; signalling the ongoing process of reconciliation outside of public policy debate. The music, which is a collaboration between Paul Kelly, Kev Carmody and Mairead Hannan, is a vehicle for moving the narrative forward (2) and underscores a central theme of the film. That is, the music's polyphonous and hybrid form signals the effectiveness of harmonies which both acknowledge and celebrate differences of viewpoint, producing what might be called reconciling harmonies that rely on a sympathetic discordance of voices and sound.
Inspired by Michael Riley's documentary, Black Tracker (1997) about his grandfather (Alex Riley) (3), One Night the Moon incorporates historic, lyrical and symbolic elements in a very effective way. Set on an outback property in 1932 and filmed on Andyamathanha land (Flinders Ranges), the narrative focuses on a couple's anguish when their only daughter, enchanted by the magical light of the full moon, follows it and goes missing. The settler/father (Paul Kelly) hastily organises a search party but refuses to allow an indigenous police officer and tracker, Albert (Kelton Pell), on his property to direct the search for his lost daughter Emily (Memphis Kelly). The settler's refusal to allow the black tracker on what he sees as "my land" has tragic consequences as the white settlers and police are unable to locate Emily. One month later, the mother (Kaarin Fairfax), without her husband's knowledge, eventually goes to Albert to ask him to help find the child. He tracks the child to the place where she died and takes her home, placing her wasted body in the arms of her incredulous father. Faced with this loss and with the knowledge that it was his racist fear of the black tracker which prevented the early rescue of Emily, the father commits suicide.
Given this subject material, One Night the Moon can be situated within contemporary debates about issues of land and belonging, the trope of the lost child, and settler/indigenous relations. Perhaps the most important emphasis in the film concerns the settler's fear of the black tracker. The settler's racist rejection of the black tracker is underscored by a fear that the black tracker's knowledge of the land casts doubt over the settler's rightful ownership of it. It is this depiction of the unsettlement of the settler, a condition described by Gelder and Jacobs as a "productive feature of the postcolonial landscape" (Gelder and Jacobs, xvi), which makes One Night the Moon a pertinent text to analyse.
"This Land is Mine/This Land is Me"
One Night the Moon shows that landscape in the Australian cinematic sphere is still a contested site, still the grounds on which notions of national identity are played out. The film's sense of visual melancholy is achieved through the process of bleach-bypassing in postproduction which drains the images of pink tones and gives the landscape a rugged and brooding presence. (4) After the child goes missing, time-lapse photography depicts the clouds rapidly rolling in and nestling on the horizon above the rocky outcrops. This reinforces the harsh weather which, after the passing of every day, further threatens the child's survival and the difficulties of the environment in which she is lost. Ross Gibson notes that in contemporary Australian films the landscape is often a "duplicitous object" and "oddly doubled". (Gibson, x) This is not only because of the historic inadequacy of settler knowledge in a 'new country', but also the ambivalence experienced by the settler in occupying lands which were once well known by indigenous owners. A similar point is made in a recent study of Australian ecological thought by Martin Mulligan and Stuart Hill where they point out that: "noticing that the indigenous people were so obviously at home in this foreign land must have made the settlers feel uncomfortable from the start". (Mulligan and Hill, 5) This "separation of belonging" as Terry Goldie (Goldie, 12) has described settler displacement, induces a state of envy. Envy of indigenous belonging produces the kinds of violent denial and expulsion from the land that we see depicted in One Night the Moon. In particular, it is the figure of the black tracker, as a haunting figure of colonial history (in the settler's mind), and as a challenging figure of 'true belonging' who looms over the settler's derangement.
Key amongst the unsettling forces within Australian (settler) culture is what Tom Griffiths has described as the "psychological legacy of the frontier" – that which leaves white Australia haunted by colonial violence and dispossession. One Night the Moon depicts the development of this "psychological legacy" in the character of the settler. His early statement to the police, "no blacks on my land", highlights the means by which settler possession ("my land") is predicated on exclusion ("no blacks"). This sentence represents both a statement (a desire) to exclude Albert and also a (rein)statement of an exclusion of indigenous people throughout colonial history. This is important for a number of reasons. The settler's desire to exclude Albert evokes the history of colonial dispossession of Aboriginal communities from their land – to the settler, Albert is simply one of the "blacks" and therefore metonymic of Aboriginal colonial history at large. The 'legacy' of this colonial history of violent exclusion then returns to the settler in the form of the permanent loss of Emily. As the narrative unfolds, it becomes increasingly clear that the statement "no blacks on my land" is made at the expense of his (and his daughter's) own future.
Albert's involvement with the rescue comes through his relationship with the local police force. At one point, his sense of belonging and possession is registered by one of the white police officers who, in response to the settler's refusal, interjects with: "Excuse me sir, this is Albert's country, he knows this land". Despite this appeal, the black tracker's expertise is refused. Perhaps the police officer's appeal serves to confirm exactly what it is that unsettles the settler in the first place: Albert is denied access precisely because it is 'his country'. This scene in the film brilliantly depicts the multi-levelled nature of settler anxiety. The whites here (police and settlers) simultaneously know and refuse this knowledge of Albert's relationship to the land. Such knowledge (of Albert's relationship to the land) is an uneasy admission of prior ownership.
Paul Carter notes in A Road to Botany Bay that while "it was the Aborigines' spatial command of the country which presented the greatest threat to white interests" (Carter, 335-336) this 'spatial command' was also commandeered by white interests in order to facilitate colonisation. One Night the Moon does not draw explicit attention to issues of black tracker complicity. (5) Instead, the film emphasises the fact that Riley's tracking skills (regardless of how they might have been used) demonstrate his belonging. While early settlers and explorers were often impressed by what they perceived as the 'instinct' (6) or excellent eyesight (7) of guides and trackers, Aboriginal people were 'reading' the country rather than merely looking at it; 'reading' here suggesting a cultural practice rather than an innate or magical skill. As Paul Carter notes, it wasn't the Aborigines "keen-sightedness", which made tracking possible, it was that thousands of years of occupation of land meant that the "Aborigines knew what they were looking for". (Carter, 337) Indeed this knowledge constitutes a particular form of land ownership where reading becomes a form of being in and belonging to the land. The authors of Reading the Country (Benterrak, Muecke and Roe) describe it in these terms:
'Ownership', in the Aboriginal sense, is circumscribed by extensive and intimate knowledge of particular places. Individuals who function as guardians of these places do so only by virtue of the knowledges they hold about the land. The land is not attached to their names; they, as individuals or clan groups are instead identified with the names of the country. (Benterrak, Muecke and Roe, 147)
In the film there are competing concepts of what land and place might actually mean. The duet between the black tracker and settler, "This Land is Mine" (written by Kelly and Carmody), expresses lyrically and harmonically, the discordant beliefs held by the black tracker and the settler in regards to their incommensurable views of land ownership. Unlike early Australian films, such as Charles Chauvel's biblical Sons of Matthew (1949), where tilling the land leads to a sense of belonging to the land (possession through utility), in One Night the Moon, working the land doesn't offer the settler any reassurance; we may read the settler's rejection of the black tracker as an indication that the settler is never really sure of his possession. While the settler articulates a defined ownership over the land "all the way to the old fence line" and sings his insistent and desperate refrain of "this land is mine", the black tracker sings "this land is me/rock, water, animal, tree" and, more importantly for the musical form of the film overall, "they are my song". Interestingly, in this duet the settler takes the high register which in this context emphasizes both his desperation and worried insistence that he must own the land, be in charge of it, his to survey. While the settler's song reassures him that he can "see" all the way to the old fence line, across to the mountains in the distance, this also implies that the landscape cannot possibly hide his daughter from his scopic privilege. What the settler discovers and what the black tracker and the other white police officers might have tried to tell him is that there is a difference between seeing and reading the land. He might be able to see the length of his land ownership, but he cannot read the land for the signs of his daughter's wanderings.
The settler's view of the land (that seeing and working is owning) constitutes a peculiar settler perspective on landscape which has been articulated by many Australian writers including Judith Wright. Wright has argued that the very concept of landscape within a Eurocentric tradition is comparable to a painter's perspective where the land is framed as an object external to the self. (Wright, 32) This concept of landscape is at odds with alternative ways of viewing the land which are not based on an opposition or separation between land and self. The debate that we see in the film between Albert and the settler is partly a debate over these different views of land ownership. (8) This debate is registered in two ways. Firstly, but not primarily, through cinematographic technique; at the beginning of the search the camera moves swiftly around the settler as he walks off in his straight line towards the hills – an important movement which disrupts the frozen lens-like perspective which marks his view of landscape-as-object. Secondly, it is depicted in song; during the performance of "This Land is Mine", two incommensurable views of being-in-the-land are brought into parallel by a passionate self-belief and Pell and Kelly's harmony of "they won't take it away/They won't take it away from me". These two lines sung in harmony by the settler and the black tracker hold very different meanings for both men. This song is indicative of the way in which the music utilises reconciling harmonies; as musical structures, harmonies contain, display and elaborate on (tonal) difference itself, lending themselves well to evoking dramatic and narrative discordance.
At a compositional level, the relationship to land is also imagined through a fusion of culturally different music styles. The Celtic/Cretan sounds of the minor chords played alongside the settler's imaginings (especially in the beginning of "Night Shadows" and "Hunger") invoke the settler's derangement, his loss of place and disorientation. The didgeridoo playing alongside and echoing at the end of "This Land is Mine" suggests the enduring rhythms of indigenous knowledge that the settler's imaginings try to repress. This is again brought to us in the form of the next piece in the soundtrack "Black and White" written and performed by Kev Carmody. As the settler searches for his child he looks up at the rock ridges above him and his face bears the expression of utter hopelessness and failure, brought face to face with a ridge that he cannot climb. His look suggests a feeling of being overwhelmed by the enormity and apparent refusal of the landscape around him and the threat it poses of ever finding his daughter. At this point, the plaintive strings echo the land's apparent refusal to take part in the colonist's conquering dream. His eventual suicide, presumably on the land (he is last seen walking out the front door with a rifle), is symbolic of the settler's inability to survive on the land without collaboration. But his death also signifies the death of the European (masculine) Self and its bodily incorporation into the land itself – both a Loss and a recognition of the land's pre-eminence.
"What do you know?/ What can you see?"
While the settler/father is the primary mouthpiece for the settler perspective on the colonial contest over land, it is his wife who articulates the personal and domestic angst caused by the loss of the child. Interestingly Perkins, who entered the project in early 1999 as director, shifted the script's focus somewhat from that of Tracker Riley's story to the mother's story and the loss of a child. For much of the film, the mother appears wrapped in a shawl, sitting in her rocking chair on the veranda of the homestead looking out and awaiting news. That she is veranda-bound is important; it is an ambiguous space neither wholly in nor out of the domestic scene which enables her to imaginatively wander and stare across the land in search of her daughter while being enclosed and protected by the homestead. And it is to the mother's grieving face that the camera often returns – a gauge of the failure of the settlers' search and the ramifications of the loss of this child.
Importantly, the white woman's position on the veranda also signals the cultural position that she is ascribed in the film – a position which white women are often ascribed in postcolonial texts, that of cultural mediator. One Night the Moon makes full use of this equivocal position of the settler woman. Firstly, she is seen in one of the opening scenes drawing her daughter away from friendship with the daughter of the black tracker – thereby signalling a role that settler women played in colonial society in the enforcement of racial segregation. But it is the maternal role that she occupies which leads her to seek out the help of the black tracker to locate her daughter after the failure of her husband's search. The duet which she sings with the black tracker starts with the lyrics: "Every day I'm with the child/she walks on my dreams/Everywhere I call she's there/and the spaces in-between/ Unfinished business". The title of the song, "Unfinished business", represents the unfinished business of locating her daughter's body, the unfinished business of apologies over the exclusion of the black tracker from the search and the 'unfinished business' which the Reconciliation movement continues to draw attention to. The maternal figure becomes of increasing importance and potency in the film, as it is she who collaborates with the black tracker to find her daughter's body and it is his wife (played by Ruby Hunter) who sings the funeral song at the lost child's funeral. The absence of the black tracker's own daughter at the funeral is notable for its invocation of the loss of the stolen generations, the other side of the story of 'the lost child' trope.
"No one's lost who finds the Moon" (9)
Australian cultural texts are replete with tales of white explorers and children going missing or being swallowed up by an alien landscape. In The Country of Lost Children: An Australian Anxiety, Peter Pierce argues that throughout Australian cultural texts (art, literature, film) the theme of the lost child recurs primarily because it draws on the settler separation anxiety; 'lost' from the mother country (Britain), deserted, stranded by her in this foreign, threatening, dry, arid, unwelcoming, hostile land. A particularly poignant scene in John Heyer's classic documentary, Back of Beyond (1954), shows two children lost in a desert-landscape going around in circles unable to find their way back home. In Nicholas Roeg's Walkabout (1970), a teenager and her young brother go missing in the bush after their father commits suicide and leaves them out 'in the middle of nowhere'. In his reading of Picnic at Hanging Rock, which clearly develops the theme of the lost child in the bush, Pierce writes:
Both novel and film of Picnic at Hanging Rock want the human dimension of the lost child story to be reduced to a puzzle without an answer, to the scrabbling of people across a vast animate, indecipherable landscape, or their disappearance into it. And yet in doing so, Lindsay and then Weir have perhaps returned the story of lost children that they tell and retell to its symbolic origins: to the anxious suspicion that Europeans do not belong in this country: that therefore they should go back to England, or escape into another time, or simply vanish. And in vanishing, whatever else they have intended, or accomplished, or been compelled to do, these children have forever escaped from childhood. (Pierce, 164)
In an extension of Pierce's argument in The Country of Lost Children, it is also worth noting that children, particularly lost children, may well also symbolise a claim for innocence on behalf of the settler culture. This is especially pertinent in the case of Nicki Webster representing 'Young Australia' (in terms of settler history and in a generational sense) in the Opening Ceremony of the 2000 Sydney Olympic Games. She is an image of an innocent white Australia and, as a child, it is difficult to associate her with colonial violence, frontier conflict and cultural genocide. What she can be seen to represent, however, is a representation of a settler desire to find a blank slate, a pure, unadulterated white canvas with which to start again.
The loss of another white girl in One Night the Moon can be situated as a contemporary post-colonial variant of the lost white child trope; the loss of innocence, unsettling the settler, the 'hostility' of the land and the arrogance of white attempts to 'own' it through pastoral care and a surveyor's view to the 'fence line'. But the film takes these familiar stories a few steps further by locating that loss as part of the settler's refusal to collaborate, to allow co-existence and indigenous knowledge into the frame. In One Night the Moon this results in the inability of the settler to thrive in the land as he loses a daughter and his own life. While settler anxiety is conveyed through the father, the collaboration between the settler woman and black tracker to find the body of the dead girl signals the discordant harmonies of reconciliation; "unfinished business/you and me." (10)
This is a refereed article.
Benterrak Krim, Muecke Stephen and Paddy Roe, Reading the Country, Fremantle Arts Centre Press, Fremantle, 1984
Carter Paul, The Road to Botany Bay: An Essay in Spatial History. London: Faber, 1987
Dermody Susan and Elizabeth Jacka, The Screening of Australia: Anatomy of a National Cinema, Currency Press, Sydney, 1988
Gelder Ken and Jane M. Jacobs, Uncanny Australia, Melbourne University Press, Carlton, 1998
Gibson Ross, Postcolonialism and the Narrative Contruction of Australia, Indiana University Press, Bloomington, 1992
Goldie Terry, Fear and Temptation: The Image of the Indigene in Canadian, Australian and New Zealand Literature. McGill Queen's University Press, Kingston, 1989
Griffiths Tom, "A Haunted Country" in Tom Griffiths (ed.) Land and Identity, (Proceedings of the 1997 ASAL conference), ASAL, 1998
Mulligan, Martin and Stuart Hill, Ecological Pioneers: A Social History of Australian Ecological Thought and Action, Cambridge University Press, Cambridge, 2001
Peter Pierce, The Country of Lost Children: An Australian Anxiety Cambridge University Press, Cambridge, 1999
Wright Judith, "Landscape and Dreaming" in R. Graubard (ed.) Australia: The Daedulus Symposium, Angus and Robertson, Sydney, 1985
"This Land is Mine" P. Kelly and K. Carmody, One Night the Moon (original soundtrack) Mushroom, 2001
One Night the Moon is the first in a series of screen-based works in which different Arts are integrated — a recent funding initiative known as mdTV (Music Drama Television). See "One Night The Moon: Interview with Rachel Perkins and John Romeril" by Kathryn Millard in Senses of Cinema, Issue 17 Nov-Dec 2001 at: http://archive.sensesofcinema.com/contents/01/17/moon_interview.html
Michael Riley was "first choice as director" because, as John Romeril explained to Kathryn Millard, "a) because it was a family story of his and b) because, on the evidence of Empire, it's already an abstract cinematic eye that he has and we could all imagine him applying himself to a musical film really well." http://archive.sensesofcinema.com/contents/01/17/moon_interview.html
Kathryn Millard in dialogue with Rachel Perkins and John Romeril, Senses of Cinema, Issue 17 Nov-Dec 2001. See http://archive.sensesofcinema.com/contents/01/17/moon_interview.html
See Jack Bohemia and Bill McGregor, Nyibayarri: Kimberley Tracker, Aboriginal Studies Press, Canberra, 1995, 30-33
Lieutenant F. Wheeler on 16th May 1861 referred to the Aboriginal troopers: "They will each take a track and follow the one track by instinct. They follow different tracks and in a strange country and go a mile away from each other and meet again." Qtd in L. E Skinner, Police of the Pastoral Frontier: Native Police 1849-1859, University of Queensland Press, St Lucia, 1975, 344-345
See for instance, 'The eyes had it' in Jean Schmaal, Tales of the Troopers: Stories from the Wild Colonial Boys, Wakefield Press, Kent Town SA, 1999, 158-159
Ross Gibson points out that the notion of landscape also assumes mastery over it: "[f]or a tract of land to be regarded as landscape — that is, as part of an artistic discourse — the people utilising it need to feel in charge of it." "Formative Landscapes" in Scott Murray (ed.) Australian Cinema, Allen and Unwin, St Leonards, 1994, 49
From "Moonstruck" by Kev Carmody, One Night the Moon (original soundtrack), Mushroom, 2001
"Unfinished Business" by Kev Carmody and Paul Kelly. One Night the Moon (original soundtrack), Mushroom, 2001
Fiona Probyn teaches in the Department of Gender Studies at the University of Sydney. Catherine Simpson lectures in screen studies in the Media & Communications Department at Macquarie University, Sydney.
Bordering Fiction and Documentary: Ghosts…of the Civil Dead
Ina Bertrand
Long Road Home: Phillip Noyce's Rabbit-Proof Fence

redpajama_set_name: RedPajamaCommonCrawl


As the moderator of Comida Latina, I am very grateful to have Denisse Oller as a regular contributor. In addition to being a lovely person, Denisse is truly a lady of many talents, journalist, chef, entrepreneur, the list goes on.
Thus I highly recommend that all our Casa Latina viewers pay a visit to Denisse's website at www.denisseoller.com to learn more about this fantastic Latina, peruse her amazing recipe selections, sign up for Denisse's monthly newsletter, and if you are like me, enjoy the visually stunning food pictures.
I truly believe that, in addition to nurturing the body and soul, and this is nowhere more apparent than on Denisse's website.
This GARBANZOS CON ESPINACA Y CHORIZO ESPAÑOL recipe that Denisse has graciously contributed to Comida Latina is as mouth watering as it is easy to make. So wow your family and friends by adding this dish to your next dinner or celebration! Simply deliciouso!
On a deep pan, heat one spoon of oil over a medium-low, pour chorizo and let it brown. Set on a plate.
Add scallion and cook 1 minute.
Add garlic and tomato and cook 5 minutes over medium heat.
Add paprika and stir. Add chickpeas, bay leaf, chicken broth, potatoes and season with salt and pepper. Cook 20 minutes without cover over a medium-low heat.
Clean spinach and add to chickpeas and chorizo. Cook covered 5 minutes. Add salt and pepper at taste.


text:
August 6 9/8c
I Need Time
May 9, 2012, 10:08 AM ET
Vicki explains how time will (and has) healed all the wounds from her divorce.
By Vicki Gunvalson
I'm so excited to unveil Tamra and my new company, Wines by Wives, on tonight's episode. It's a concept that we talked about doing for several years, and finally launched it tonight with a formal party with all of our closest friends. We know that wine is a cocktail that many people enjoy, and we wanted to have a membership so our fans could share in our "favorite monthly selections." The best part of our new company is not only will you be able to enjoy our favorite wines of the month, but 10 percent of all the proceeds go to each of our chosen charities.
I thought it would be a perfect night at the Wines by Wives party to announce to my close friends that Briana eloped and is legally married. HOLY CRAP! Although I was still in somewhat of a state of shock that she was married, I wanted her to feel the joy of finally letting everyone else know. What Briana didn't know is that I flew my brother Billy (her favorite uncle) in to surprise her and find out that she just eloped. I think Briana was just as surprised that Billy came to see her as I was when she told me she eloped. I love surprises!
There was an uncomfortable moment this evening when both Mike and Briana met Brooks. I knew there would never be a good time, but felt tonight was just as good as any. Looking back, I wish they would have met without other people around, but somehow after several failed attempts we just couldn't make that happen.
Both Mike and Briana are very guarded and very territorial of me. You could feel the tension in the air when Brooks and I sat in the room with Briana and Ryan. Looking back, it was probably one of the most uncomfortable moments of my life. I really do not like conflict and when it comes to my kids, they are the first priority in my life. I don't like them being disrespectful, but I do acknowledge that they didn't mean to be. It's interesting that now they are 25 and 26 and are adults. I still worry about them like they were five and six. I guess that feeling will never go away. Sometimes I think it was easier when they were younger than it is now. Either way, they are my kids. They are my priority, and I understand their fears and the uncertainty that comes with their mother dating.
Since this night seven months ago, we are all at a much better place. Brooks, Mike, and I just got back from the Kentucky Derby together and Briana, Ryan, Brooks, and I go out on double dates quite often. It's not perfect by any means, but it is much better than it was when this episode filmed.
I am not rushing into marriage with Brooks, as I myself have a lot of growing and healing to do. The only thing I believe that will help me through is TIME. Those of you that have ever been divorced, understand that it's like dealing with a death -- except the person is still around. It's a void that is very difficult, but I know it's the right thing for Donn and I. Brooks has been a real partner through all of my transitions and can feel the stress all around. He has stood beside me encouraging me to be patient with Mike and Briana, and consistently influences me to shower them with love. He continuously reassures me that "everything will be OK in God's timing." To say I haven't shed an ocean of tears through all of this transition would be an understatement.
It's not that they don't like or respect Brooks. I believe it doesn't matter who it would be they would probably feel the same way.
Thank you all for your encouragement to both Briana and Ryan and to myself with dating Brooks. He is a very sweet man that does not deserve the backlash that he has been receiving from some of my friends. I appreciate their concern, but at the end of the day it's my life and if I'm happy that should be enough for them.
I hope you all have an amazing week and smile at someone you don't know, give a hug to someone you do know, and always look at the glass half full and not half empty. We control our thoughts and how we reach our destinations. . .It's the journey along the way that is important.
In closing, don't forget to contact my company if you are in the need of a 401K rollover recommendation, IRA rollover, or life insurance. We look forward to servicing your insurance needs.
Vicki Gunvalson
www.vickigunvalson.com
Vicki: I Appreciate How Well Steve Took Care of Me
Gina: My Intention Was Never to Throw Anyone Under the Bus
Tamra Judge: I Was Kind of In Shock That Gina Even Went There
Emily Simpson: All the Pain Just Surfaced
Gina Kirschenheiter: I Felt Like Shannon Finally Let Her Walls Down
The Three Amigos Are Now the Tres Princesas
Kelly Dodd Says Season 14 of The Real Housewives of Orange County Is the Best One Yet
Your First Look at The Real Housewives of Orange County Season 14
A Timeline of Vicki Gunvalson and Steve Lodge's Romance Before They Get Married
Shannon Beador Reveals What Helped Her Lose Weight for Good


If you could recall the last wedding you attended, you would know how you were all introduced to the bride.
Some cute, adorable little girls scattered flower petals on the wedding aisle and welcomed the beautiful bride to the whole crowd.
Well, those pretty, little girls are what we call flower girls. As much as they are an important part of the ceremony, their dressing is equally important too. So, here's a guide on the beautiful dresses for your flower girl.
Are you one of those brides who love everything shiny and sparkly? If you are, you will like the idea that we are about to propose to you. What if we tell you that your entry can include a bit of glitter? Are you confused exactly how you can do that? Well, your flower girls can flaunt beautiful sequin dresses, making your entry a bit shimmery and full of admiration.
You can let your flower girls go for an all-sequin short dress like the style 32761. A better alternative can be the style 32705 which features an all-sequin bodice with a short chiffon skirt. Donning these glamorous dresses by your flower girls will be the most enchanting way to welcome the bride.
Nothing is more adorable than seeing the flower girls rocking as pretty and as feminine fabric as lace. It is one of the cloth pieces that can make all the cute flower girls look cuter.
There are a number of lace dresses that you can choose for your little girls. The style 32818 is a pretty short lace dress with butterfly sleeves, a semi-halter neckline, and a stylish keyhole back. Trust us, this dress will make your flower girl appear nothing less than a modern chic.
Another great option for you is the style 32723 that features beautiful black lace sleeves over a short satin gown. What elevates the beauty of the dress is the elegant belt at the waist and a shining center broach. The most fashionable gown of the lot is undoubtedly the style 32649 that has a lace bodice with cap sleeves. The gathered waistband over a full-length A-line chiffon skirt makes the dress appear more unique and super stylish.
If there is any kind of gown that can make your flower girl feel totally relaxed and comfortable, it is the chiffon gown.
You will be pleased to find out some ultra-modern chiffon dresses here. For instance, the style 32753 is a beautiful long chiffon gown that features a flounce top with spaghetti straps. The blush pink color of the dress would be one of the many reasons why you will instantly fall in love with the dress. Another nice option for you is to go for the style 32648. The high-low chiffon gown with chiffon flower detail at empire waist makes it an ideal choice for your flower girl to flaunt it on your big day.
You can also click here to find out some more great dress style options for your adorable flower girls!


This article from The Maroon at Loyola University mentions the American Student Government Association.
Only one in five students at Loyola University took part in electing their school leaders this year.
Official documents released said only 476 of the eligible 2,667 students voted in the Student Government Association elections this year.
SGA's voting process saw some changes this year, moving from physical voting stations to a new online voting platform hosted on OrgSync.
Bud Sheppard, management sophomore and SGA president, was introduced to OrgSyc this year just like everyone else. He said he heard from students that there were some issues with the new platform.
"Honestly, a lot of students just aren't familiar with it, and this being the first trial run, you're going to see hiccups," Sheppard said.
Sheppard said the campaigning this year was longer than previous years, but the voter turnout dropped from 22 percent in 2013 to 17 percent. Sheppard said he was "perplexed" as to why the numbers were so low.
"Obviously I want the numbers to be higher, we were trying our hardest to get people to vote. I'm very surprised and concerned, for next years election I want to get those numbers up," Sheppard said.
"If OrgSync is programmed better, I think it will be the most effective way to get voters," said Ryther.
Ronald Palmer, marketing senior and outgoing vice president of communication for SGA, said that people were confused about logging onto OrgSync, and next year they plan to streamline the website.
"For next year, the idea is to have a single log on. The same password you use for Loyola email would be the same password," Palmer said.
Whitey Woods, mass communication junior, said that voting on OrgSync was "stressful." She said that she would more probably abstain from voting if the process were not user-friendly.
"It was confusing. Last year they used voting booths, and I prefer that. If I have to take time out of my day to vote and it's not easy, I'm less likely to do it," Woods said.
In three years, SGA has used three different platforms to vote. Blackboard, physical voting booths and OrgSync were used in 2012, 2013 and 2014 respectively.
Last year, no official documents were released on the amount of people who voted. Unofficial documents presented by Palmer say that 668 students voted, 22 percent of eligible voters.
However, Butch Oxendine, executive director of the American Student Government Association, said the 17 percent turnout rate is consistent with other private institutions in the nation.
Oxendine said the typical rate for private intuitions was "fifteen to twenty percent" and online platforms are considered to be a best practice.
"Eight out of ten colleges and universities nationwide are now running elections online, it should be something that every student government embraces because it is more accurate in counting and faster in providing results," he said.
Palmer said that the turnout was connected with SGA's reputation.
"The SGA reputation needs to improve in order to get more people interested in voting," Palmer said.
Palmer said SGA plans on continuing to use OrgSync for the next election, but they hope turnout will improve.
"It would be a disservice to students, as well as Loyola to discontinue OrgSync," Palmer said.


It is with great joy that I wish you and your families a blessed and love-filled Christmas season with Christ as the center. This month I want to bring to remembrance the reason that Christ came.
For God so loved the world that he gave his only begotten Son, that whoever believes in him should not perish, but have eternal life. For God did not send his son into the world to judge the world, but that the world should be saved through Him.
If it weren't possible for us to live above the evil in this world then Jesus never would have asked the Father to help us do it.
There is a place of victory in the Kingdom of God IN THIS EARTH, in JESUS, that is victorious in every situation and circumstance. That place of Victory is God's love!
In the Scripture we read at the beginning, John 3:16-17 we were told that God gave His Son so that we would not perish. That word "perish" in Strong's concordance means to destroy fully or completely, to mar, to lose, to die. Scripture states that Satan comes to kill, to steal and to destroy. If we allow him to steal from us the truth of God's Word in any area, if we allow him to steal from us the truth of God's love in any circumstance, then he will have access to kill something in our lives. If we allow him to kill something in our lives, then he can destroy us fully; taking more and more ground. For instance, if we allow him to steal from us the truth of God's love then he can steal from us through bitterness, resentment, hatred, hopelessness and depression. If we allow him to steal our joy then he can kill our strength and hope and destroy us with weakness and despair. If we allow him to steal from us the truth that God loves us then he can kill our faith and ability to trust God and destroy us through unbelief and fear. If we allow him to steal the truth that God is our Creator, our Protector, and our Lord, that all we have and all we are, we are and have because of His goodness and mercy toward us, then he can kill our reliance upon God and destroy us through pride, selfishness and arrogance. The Bible tells us in Hebrews 4:11 to be diligent, to labor to enter that rest, to move into that realm of victory and love; to operate and function in it, where you have ceased from your labor and strength and are moving in and relying on His. Where you have left Phileo behind and have allowed His Agape love to flow from you and have left your own vain philosophies and mindsets and rely only on His Word and His Spirit. This is the meaning of Christmas! This is why God sent His Son. So that we could know who our Father really is and walk as His sons and daughters in this earth. That we might KNOW HIS LOVE.
May He grant you our of the rich treasury of His glory to be strengthened and reinforced with mighty power in the inner man by the Holy Spirit Himself indwelling your innermost being and personality. May Christ, through your faith, actually dwell, settle down, abide, make His permanent home in your hearts. May you be rooted deep in love (agape) and founded securely on love (agape) that you may have the power and be strong to apprehend and grasp with all the saints, the experiences of that love, what is the breadth and length and height and depth of it. That you may really come to know practically, through experience for yourselves, the love of Christ which far surpasses mere knowledge without experience; that you may be filled through all your being unto all the fullness of God. That you may have the richest measure of the divine presence, and become a body wholly filled and flooded with God himself.
Forgiveness, eternal life, deliverance, protection, preservation, healing, mercy, grace, righteousness, love and power; these are the gifts we have been given because of Jesus Christ, because the Word became flesh and dwelt among us. This is why He came – that you might know the love the Father has for us and walk in it; that we might know and manifest the power and might of our Father and bring HIS love to this dying world.
Neither for these alone do I pray (it is not for their sake only that I make this request), but also for all those who will ever come to believe in (trust in, cling to, rely on) me through their word and teaching.  That they all may be one, (just) as You, Father, are in Me and I in You, that they also may be one in Us, so that the world may believe and be convinced that You have sent Me.  I have given to them the glory and honor which you have given me, that they may be one (even) as We are one:  I in them and You in Me, in order that they may become one and perfectly united, that the world may know and (definitely) recognize that You sent Me and that You have loved them (even) as You have loved Me.  Father, I desire that they also whom You have entrusted to Me (as your gift to Me) may be with me where I am, so that they may see My glory, which You have given Me (Your love gift to Me); for You loved Me before the foundation of the world.  O just and righteous Father, although the world has not known You and has failed to recognize You and has never acknowledged You, I have known You (continually); and these men know and understand that You have sent Me. I have made Your Name known to them and revealed Your character and your very self, and I will continue to make (You) known, that the LOVE which You have bestowed upon Me may be in them (felt in their hearts) and that I (Myself) may be in them.
As we give gifts this season to bring love and joy to each other's hearts, let's remember the wonderful gift God has given us in His Son and rejoice as we realize the Grace of God that is in US, and for US! Let's never forget the price that was paid to obtain it – a life laid down! This holiday traditionally marks the beginning of that earthly life, the birth of that precious physical body that brought love and truth to man again – The Word of God – Jesus Christ. May God bless you abundantly in His Word and in His Truth this coming New Year. May next Christmas find you stronger, more mature, and more intimate with our Savior than ever before. May His righteousness, peace, love and joy fill your hearts and lives now and always . May His love fill us and overflow from us to every life our lives touch.
For Unto us a child is born, Unto us a Son is given, and the government will rest on His shoulders; and His name will be called Wonderful, Counselor, Mighty God, Eternal Father, Prince of Peace.
Thanks be unto God for His indescribable Gift!!


Anthrogenica > Human Personal & Genealogical Genetics > Commercial Testing > 23andMe > Any Body with F Y-DNA Haplogroup here?
View Full Version : Any Body with F Y-DNA Haplogroup here?
I had myself tested with 23andme and they have assigned my Haplogroup F on paternal side. I am wondering if anybody else on this forum has this haplogroups.
Thank you. F is the father of almost all the descendants Haplogroup GHIJK . F are found mostly in populations speaking Dravidian, Indo-European, Sino-Tibetan and Tibeto-Burman and Turkic languages, throughout Eurasia.
So Geno2.0 test turned out to be garbage, you can try Fullgenomes to discover your ultimate SNPs if you don't want to try FTDNA again anytime soon.
"When assigning your haplogroup, they should look at all of my SNPs. This means that even if I am positive for a mutation for another haplogroup, this does not mean I have this haplogroup assignment. Please keep in mind that individuals can have mutations that are characteristic of several different paternal haplogroups. 23andMe assigned me the haplogroup that I was the most similar to in regards to their reference tree "
Geographic/FTDNA were doing trial and error with my DNA results. They kept assigning me Haplogroups based on isolated tested positive SNPS. Very unprofessional and unsatisfactory. I would not recommend them to friends and people who are interested in ancestry. If you guys want to know your haplogroups with a greater level of certainity , I would strongly recommend 23andme Testing. Better Customer Service, Quality control and a better product. Do not go with FTDNA /Genographic !
It appears that you have one of the rare paragroups that illustrates the technical limitation of the chip-based test. You probably should go for the full y-chromosome sequencing.
Thank you. I do not have a deep interest in ancestry and full Y-chromosome sequency is how much ? $ 2,000 that would be a little too much for me!
23andme at least provided the correct haplogroup and addressed my concerns, whereas Geno/FTDNA kept on dodging the issue.
I will post a full thread on my experience with them (Geograpgic/FTDNA) and it will be an eye opener for all those who are interested in Ancestry results.
23andme tests for approximately 600,000 – 700,000 SNPs and I believe this is good enough to assign a parent haplogroup correctly if not the sub claude. FTDNA/Geno might test more but their haplo tree is a mess and so are their Haplogroup callers. I have all the screen shots /correspondence saved and I will post a separate thread on my bad experience with them. Overall , a poor testing platform and with lots of mistake/errors that's for genographic and FTDNA.
23andme tests for approximately 600,000 – 700,000 SNPs and I believe this is good enough to assign a parent haplogroup correctly if not the sub claude. FTDNA/Geno might test more but their haplo tree is a mess and so are their Haplogroup callers. I have all the screen shots /correspondence saved and I will post a separate thread on my bad experience with them.
First I was placed in J, then to F, then R , then to H and then to R and so on.
The problem with Geno2/FtDNA starts with the in-house Ytree used by them. That Y-tree is problematic and many snps were placed at wrong places. The quality control is another issue since they are the new comers to the chip technology, and they have a lot of reads that cannot pass the quality controls.
Although 23andme tests hundreds of thousands of snps, only a few thousands of these snps are on the Y-chromosome, so the resolution is really limited. You may truly belong to F*, and you may not.
I believe that it is unlikely you are F*, and they will update it once again, probably H.


text:
ScreenX arrives in the UK
by peter-admin | posted in: All News, Blog, Cinema | 0
[A version of this article appeared in the December 2018 edition of Cinema Technology Magazine]
I went to experience ScreenX at the Cineworld, O2 and see what this new to the UK format was all about.
As was reported in the September 2018 edition of CT, Cineworld announced at CineEurope an agreement with CJ-CGV, owner of the ScreenX product, to install 100 screens across the UK, US and eight other international locations. The first of the new ScreenX auditoriums opened at the Cineworld, O2, North Greenwich in August 2018 with the films Meg and Antman and the Wasp.
The opening of the ScreenX auditorium comes at a time where the company is not just expanding rapidly with Cineworld but also globally. At the time of writing, there were 147 screens in 10 countries. There are ambitious plans to expand ScreenX into 10,000 screens worldwide by 2020.
What is ScreenX
It is a concept that makes use of the main screen in the auditorium and the associated DCP cinema technology. In addition, the walls of the auditorium are coloured white, and additional projectors are placed in the ceiling. These projectors are high-quality single chip DLPs. When combined together this allows for a 270-degree picture that is designed to immerse the viewer into the movie.
ScreenX was developed by a South Korean company that also operates the largest cinema chain in South Korea, CJ conglomerate. The company, CJ-CGV, are also responsible for 4DX. The format was first launched in 2012 with the experience initially only being available in South Korea. The ScreenX is able to be easily retrofitted to an existing auditorium without it impacting on the traditional 2D or 3D screenings that take place there. The cost is around £300,000 and CJ-CGV foresees that exhibitors would add one or two of the ScreenX formats into a cinema.
Getting the Content
It does not matter how great the format is if there is no content available to be shown in it. ScreenX movies are able to be adapted either at the production stage or later on in post-production. Often the side images are CG extension graphics that have been added.
Premium for the experience
Just like 3D and other screen variants, there is a premium added to the ticket if you want to experience ScreenX, in the UK that is £3. For the Cineworld Unlimited customers, it will operate in the same way as it does currently for 3D where they pay an additional fee for the premium unless the customer has a Premium Unlimited card, that means that it is included.
The auditorium walls are now white, with the original wall to wall, floor to ceiling screen at the end of the auditorium. In the auditorium that was visited there were a total of four projectors in the ceiling each focused on a quarter of the side screens. These projectors looked to be high-end single chip DLPs. The projectors are all switched on at the same time as the main projector, and provide a low level of light onto the ceiling during the time that they are not in use.
The noticeable thing about the ScreenX auditorium is the amount of ambient light that exists, from no longer having the dark walls to absorb the additional light reflected from the main screen.
Most features at the moment only have a number of scenes that are in the full 270 ScreenX format, and so there is a constant switching between having pictures on just the main screen and also the side panels. At times it can be a little distracting, but you do get used to it. Mainly the content that was in the ScreenX format is material that is mainly CGI or some action scenes but very rarely involves dialogue.
It was noticeable with the content that was watched that there were times when the picture was cropped down, in order to then expand it over the three screens. For the most part, this didn't matter, but there were a few times where some of the subtleties of the scenes were lost. (It is worth noting that the feature in question had been seen projected a number of times in a standard format so that the content was well known).
The main screen also lost some of its contrast when the extra screens were also in use as there was some much additional light in the auditorium. Things like fire exit signs remain in place on the walls and become part of the canvas of the additional screens. Although for the most part, these are not too distracting.
The experience was not unpleasant and really enjoyable. It is one that would certainly be looked out again. The main thing would be to have more of the content in the full three-screen ScreenX format.
ScreenX is another format in an ever increasing competitive arena of both entertainment and cinema experiences. It provides something different, that many will never have experienced in the past, and is considerably easier to install and manage than anything that may have been an option in the days of film. There are many movies and cinemas where the ScreenX format will not be an appropriate fit, but equally, there are many locations and movies where the ScreenX will be the destination of choice. The question with ScreenX and indeed 4DX is whether it will encourage audiences to go and see a big movie multiple times so that they are able to experience it in the different formats?
With the likes to ScreenX, 4DX and the other PLF formats it is as much about encouraging audiences to experience something at the cinema that they are not able to at home, and while this format and style is not the be all and end all of the cinema experience it is definitely part of the overall story.
More information on ScreenX can be found on their website here: http://screenx.co.kr/en/
CJ, CT, North Greenwich, PLF, Portfolio, UK, US


text:
Q: How to create a slider with a non-linear scale? I have a slider with a minimum value of 0 and maximum of 500.
I want to when the slider goes to 100, the thumb be in the middle of the slider.
I know it seems wierd, but some programs do it with zoom slider, and I believe it's better.

A: A good formula for the displayed value is a monotonous function such as a power curve, in the following form:
DisplayValue = A + B * Math.Exp(C * SliderValue);

The internal slider value (from 0 to 1 for instance) is obtained by inverting the formula:
SliderValue = Math.Log((DisplayValue - A) / B) / C;

Now how to obtain A, B and C? By using the three constraints you gave:
f(0.0) = 0
f(0.5) = 100
f(1.0) = 500

Three equations, three unknowns, this is solved using basic maths:
A + B = 0
A + B exp(C * 0.5) = 100
A + B exp(C) = 500

B (exp(C * 0.5) - 1) = 100
B (exp(C) - 1) = 500

exp(C) - 5 exp(C * 0.5) + 4 = 0  // this is a quadratic equation

exp(C * 0.5) = 4

C = log(16)
B = 100/3
A = -100/3

Yielding the following code:
double B = 100.0 / 3;
double C = Math.Log(16.0);
DisplayValue = B * (Math.Exp(C * SliderValue) - 1.0);

You can see that the display value is at 100 when the internal value is in the middle:

Edit: since a generic formula was requested, here it is. Given:
f(0.0) = x
f(0.5) = y
f(1.0) = z

The values for A, B and C are:
A = (xz - y²) / (x - 2y + z)
B = (y - x)² / (x - 2y + z)
C = 2 * log((z-y) / (y-x))

Note that if x - 2y + z or y - x is zero, there is no solution and you'll get a division by zero. That's because in this case, the scale is actually linear. You need to take care of that special case.

A: Based on the algorithm from sam hocevar, here is the code I put together :
/// <summary>
/// Scale a linear range between 0.0-1.0 to an exponential scale using the equation returnValue = A + B * Math.Exp(C * inputValue);
/// </summary>
/// <param name="inoutValue">The value to scale</param>
/// <param name="midValue">The value returned for input value of 0.5</param>
/// <param name="maxValue">The value to be returned for input value of 1.0</param>
/// <returns></returns>
private double ExpScale(double inputValue, double midValue, double maxValue)
{
  double returnValue = 0;
  if (inputValue < 0 || inputValue > 1) throw new ArgumentOutOfRangeException("Input value must be between 0 and 1.0");
  if (midValue <= 0 || midValue >= maxValue) throw new ArgumentOutOfRangeException("MidValue must be greater than 0 and less than MaxValue");
  // returnValue = A + B * Math.Exp(C * inputValue);
  double M = maxValue / midValue;
  double C = Math.Log(Math.Pow(M - 1, 2));
  double B = maxValue / (Math.Exp(C) - 1);
  double A = -1 * B;
  returnValue = A + B * Math.Exp(C * inputValue);
  return returnValue;
}

A: This was such an interesting question that I couldn't leave it alone, and hopefully I got what you're asking right :)
You want to change the Value of a Slider from Linear to a Quadratic Function by specifying the Y value of the function when the Thumb is in the middle.
A Quadratic Function is written on the form

Since we have 3 points, we have 3 sets of values for X and Y.
(X1, Y1) = 0, 0
(X2, Y2) = MiddleX, CenterQuadraticValue (in your case 100)
(X3, Y3) = Maximum, Maximum (in your case 500)

From here, we can create a Quadratic Equation (see this link for example) which comes out to

Unfortunately, some values in this graph ends up below 0 so they will have to be coerced to 0 (I included a graph in the bottom of the answer).
I created a control, QuadraticSlider, which derives from Slider and adds two Dependency Properties: QuadraticValue and CenterQuadraticValue. It calculates QuadraticValue using the formula above based on Value, Maximum, Minimum and CenterQuadraticValue. It also does the reverse: setting QuadraticValue updates Value. So instead of Binding to Value, bind to QuadraticValue.
Edit: The last version was a little buggy. Fixed a couple of things

*

*Calculating Value from QuadraticValue no longer breaks when "a" is 0

*Used wrong root from the second degree solution when the derivate was negative

I uploaded a sample application where QuadraticSlider is used to zoom a picture. All parameteres can be specified and the first picture uses Value and the other QuadraticValue.
Download it here if you want to try it out.
It looks like this

And this is what the graph looks like, notice the values below 0

A: let the slider as it is and use a ValueConverter for your bindings. In the ValueConverter use the non-linear scaling to scale the value as you wish.

A: Just as a further reference; if you are not interested on exact positions for your slider to correspond to specific values in your scale but still want a behavior where the slider is more sensitive to values on the beginning of the scale than on the end, then perhaps using a simple log scale may suffice.
public class LogScaleConverter : IValueConverter
{
    public object Convert(object value, Type targetType, object parameter, CultureInfo culture)
    {
        double x = (int)value;
        return Math.Log(x);
    }

    public object ConvertBack(object value, Type targetType, object parameter, CultureInfo culture)
    {
        double x = (double)value;
        return (int)Math.Exp(x);
    }
}

A: Some addition to Meleak's post.
I've slightly corrected QuadraticSlider. There was issue with event handlers (event on QuadraticValueChanged with yet prevoius value; event during initialization with out of range [min, max] value).
protected override void OnValueChanged(double oldValue, double newValue)
{
    QuadraticValue = a * Math.Pow(Value, 2) + b * Value + c;
    base.OnValueChanged(oldValue, newValue);
}

public double QuadraticValue
{
    get {
        var qv = (double)GetValue(QuadraticValueProperty);
        if (double.IsNaN(qv))
            qv = 0;
        qv = Math.Max(qv, base.Minimum);
        qv = Math.Min(qv, base.Maximum);
        return qv;
    }
    set
    {
        SetValue(QuadraticValueProperty, value);
    }
}

A: To generalise on Sam Hocevar's excellent answer:
Let the intended Maximum value be M.
Let the value at the slider midpoint be m.
(obviously, 0 < m < M), then
    A = - M*m^2 / (M^2 - 2*m*M)
    B = M*m^2 / (M^2 - 2*m*M)
    C = Ln((M - m)^2 / m^2) // <- logarithm to the base of e, I always think of 'Log' as base 10

One must take care to treat the case 2*m=M seperately, because that leads to a division by 0. But in that case, you'd have the slider behave in a linear fashion anyway.
Chosing m from between M/2 and M makes for a logarithmic curve: The effective slider values rise fast at first, then slowly later on. This basically reverses the effect and gives the user finer control of the higher values.
As mentioned, an m close to M/2 makes the slider basically linear.
Choosing m close to 0 or close to M makes for fine control over the very low or the very high values.
I suppose one could use this in combination with a second slider that sets m to a value between 0 and M to change the ... errr ... sensitive zone of the real slider.

A: Not nearly as elegant as some of the other answers here but instead of a smooth curve you could just use two straight lines. With y as your slider's position and x as your actual value, you'd use (y1 - y2)/(x1 - x2) to get the slope, then y - y1 = slope * (x - x1) to get the y intercept. Do that for each half of the slider then use a conditional statement to treat values differently depending on whether they are above or below 50. The basic maths in your case:
(0 - 50)/(0 - 100)
-50/-100
1/2
y = x/2

...since we know the y intercept is 0. Then...
(50-100)/(100-500)
-50/-400
1/8
y - 50 = 1/8 * (x - 100)
y - 50 = x/8 - 25/2
y = x/8 + 75/2

From a user experience perspective, you're definitely better off using a curve (I especially like Cesar's log idea) because it avoids a sharp "elbow" where the slider starts suddenly increasing values at a totally different rate. But this approach is simple to implement and flexible (you could easily add more zones with different ratios) so I thought it was worth mentioning it anyway.

A: Here is the go code for deriving the exponential equation: https://play.golang.org/p/JlWlwZjoebE

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text:
Shanghai Shuffle
Genom Bob Petrocelli
Musikgenre Blues
Guitarist/vocalist/songwriter Bob Petrocelli has many years of experience in a wide variety of musical styles,ranging from doo wop to rock to free jazz, specializing in Blues and other roots-oriented projects for the past 15 years. Currently, in addition to leading his own group, Bob has been guitarist, songwriter and musical director for bluesman Robert Charels for the past 3+ years. Bob's writing contribution to the latest Charels' release 'Three Leg Dogs and Old Skool Cats' was the song 'Hey Shellena', which was the first selection from the CD to receive radio airplay and was featured on the nationally syndicated (102 stations) 'Blues Deluxe' radio program and has been re-recorded for the 'Shanghai Shuffle' CD. The song 'Gulf Coast Blues' from the new CD was awarded Honorable Mention in the 15th Billboard World Song Contest. Over the years, Bob has performed with or opened for a wide array of artists including Robert Charels, Paul Oscher (Muddy Waters Band), The Nawlins Funk Band, Michael Hill's Blues Mob, Little Toby Walker, Jerry Nolan (NY Dolls), Patrick Sky, Johnny Maestro and the Brooklyn Bridge, The Del Satins, The Capris, The Dubs, The Devotions, The Ovations, The Elegants, The Ferrari Brothers, Minimalist composer Rhys Chatham, Jazz greats Richard Davis, Buster Williams, and many others.
Konstnären: Bob Petrocelli
Titel: Shanghai Shuffle
Genre: Blues
Bob Petrocelli
1 Lady with a Plan
2 Six Feet of Fun
3 Shanghai Shuffle
4 Gulf Coast Blues
5 Get a Grip, Pt. 1
6 Hey Shellena
7 Next Year
8 Blues-Blues
9 Shellena's Rose Tattoo
10 Road Kill
11 Threw My Love Away
12 Get a Grip, Pt. 2


Mango tea is a unique, light blend of natural herbal flavors. Extracts of vanilla bean and hibiscus are used to compliment the fresh original taste of mango in this refreshing bottled tea. All natural, no caffeine and no preservatives! Ingredients: Filtered water, cane sugar, herbal extracts (hibiscus, rosehips, vanilla beans, raspberry leaves, lemon peel), citric acid, and natural mango flavours.


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Cyberbullying is a serious concern impacting young people at alarming rates. This award-winning video educates families about this threat. Find out how to protect your children.
This video is brought to you by Executive Electronics of Southwest Florida Inc, Honeywell Security and First Alert Professional Security Systems.
Don't reply. When someone bullies you, your reaction is exactly what the bully is looking for. Your reaction gives the bully power over you.
Never retaliate. If you "get back" at the bully it only reinforces the bully's behavior. You become a bully too. Don't start a cycle of aggression.
Save any evidence. The only good thing about "cyber" bullying is that harassing messages are usually captured and they can be saved. Then you can show the messages to someone who can help. Make sure to save the messages even if they seem minor – just in case the messages get worse.
Talk to an adult you feel you can trust. It's always good to talk with your parents about the situation – if you can't – a school counselor can help you. If you are nervous about telling someone, check to see if you can report the incident anonymously at school.
Block the bully. If the bullying messages are instant messages, texts, or profile comments, do yourself a big favor. Use preferences or privacy tools to block the person. If it's happening in a chat room, leave the chat room.
Be decent and civil- don't stoop to the bully's level. Even if you don't like a person, try to be decent and don't sink to the other person's level. Spreading gossip and talking trash about others increases your chance of being bullied. Use the "golden rule"- treat people the way you want to be treated.
Don't be a bully. Would you feel bad if someone harassed you? Try to imagine walking in the other person's shoes. If you think about bullying, think for a few seconds how that person will feel. Remember- it's a two-way street.
Don't be a bystander- be a friend. Don't watch or forward messages from a bully. That only empowers the bully. Let the bully know that the behavior is unacceptable – cruel abuse of fellow human beings. If you can't stop the bully, at least try to help the victim and report the bully's behavior.


Guys… shhhh… don't tell Aldi. But, there's some competition for my heart. Enter: Lidl. It's liiiike Ikea meets Harris Teeter meets Costco meets Aldi. And it's good. Really good. Maybe not better, but change is nice sometimes.
The closest Aldi is 8 minutes from me, and the closest Lidl is 25 minutes, so although geographically, it would seem that Aldi would be the clear winner of my affections, the comparison leaves things a little shadier.
Aldi – excellent inventory of private label options, snacks, nuts, and dry goods.
Lidl – excellent inventory of meat, dairy, wine and name brand goods. Plus they have a bakery, clothing, and makeup.
Winner: Eh. It depends on what I'm shopping for. It would be rare that I could complete and entire week's worth of shopping without needing to supplement from a more traditional store. But. I'm going to give Aldi the nod here, because as much as I love all of Lidl's offerings, there are some key things I felt were missing, and despite what some people think, I've found Aldi's meat to be really good quality.
Lidl – excellent rotating discounts (see prices listed above). They also print out coupons on their receipts (or at least are right now) for $5 off $30. Aldi gives coupons at their grand openings but not on a regular basis.
Winner: Sooo close, but the receipt coupons are going to give the edge to Lidl.
Aldi – I sort of loved the grunge effect of Aldi's old layout. It made me feel like I had some street cred… as much street cred as one can achieve doing suburban grocery shopping. Their new layouts are lovely. They keep the authentic Aldi feel (if you shop there, you know what I mean… stacked boxes, bread crates…) but in a proud, elevated new way that shops more like a traditional grocery store.
Lidl – Lidl is bright, laid out like a "real" grocery store, but then has an awkward set of mini-aisles full of German clothes (that I have been tempted thrice now to try) and housewares.
Winner: Going with Lidl here, though I'll need to visit a couple more times to get truly used to it. Listen, I'm partial to Aldi here, but for the general shopper, Lidl is friendlier and more familiar.
Overall winner: It's been tempted and tested, but my heart belongs to Aldi. I really love Lidl, and it will certainly become a stop in my rotation, particularly for their Rioja wine and selection of meat, but even if Lidl were closer, I'd pick Aldi on a more regular basis. It will be interesting to see how these grocery wars play out, because these frenemies are giving shoppers a lot to be excited about.
I've shopped Lidl three times now… the first, just to scope it out. I grabbed a couple of things but had already done my shopping for the week.
The next time I shopped it, I was getting things for one of my clients' free pop up farmer's market in an at-risk community in Charlotte. I purchased 40 lbs. of chicken, 18 half gallons of milk and 18 loaves of bread for… $50.05.
Finally, I went back for a fuller weekly shop for our family. I had two $5 off $30 coupons that I didn't want to go to waste. Unfortunately, you can't stack the coupons (so $10 off $60), which is a real pet peeve of mine, so I split my order in to two transactions in order to redeem both. Below is a look at what I got for $83.64 ($93.64 before my coupons).
Greek yogurt – $0.40 ea.


text:
Modern Magazine
The Magazine Antiques
Art in America Guide
Emperors Bloom by Matthew Shlian. Courtesy of Matthew Shlian
Behind the Fold: Matthew Shlian's Paper Art
By FRANCES BRENT | July 25, 2017
From his early experiments with folded book art, Matthew Shlian has sprung exuberantly in many directions. Kirigami—the art of cutting, folding, and gluing paper—is the medium he's chosen to explore the paradox of how a two-dimensional material can create three-dimensionality. Paper has special properties that enhance experimentation because it can collapse, expand, and return to its starting point as if it has memory. Sometimes Shlian designs on the computer, using 3-D modeling programs, and he often finds use for flatbed plotter cutters, but he always folds, glues and assembles by hand. As he's said in many interviews: "If you can hold something in your hand, you can understand it." For his graduate thesis at Cranbrook, he built Misfold, a thirteen-foot, folded paper kinetic sculpture that, with the help of a robot, slowly and rhythmically rises vertically, stretching up like an unfolding paper lantern.
As a paper engineer, Shlian has designed storefront art for Levi's and murals for Facebook. He's partnered with Ghostly International, a gallery and store that combines music, technology, design, and visuals into one online platform. At C.S. Mott Children's Hospital in Ann Arbor he constructed Unlean Against Our Hearts, a Tyvek half-torus shape which he calls "a paper slinky," the circles of its two ends resting on perpetually rotating plexiglass turntables. At the University of Michigan, he collaborated with molecular scientists who study cellular membranes and with a team of engineers who are working to create more flexible solar cells. He's given a Ted Talk and appeared on Sesame Street when the word for the day was "sculpture." Last year he got an email from a girl who was getting a custom-built prosthetic leg from Bespoke Innovation. She asked if he could design something that would decorate the fitting that covers her peg and he sent on a tessellated design that fits around the prosthetic shin like a silver cuff.
Ara 117 by Matthew Shlian. All photos courtesy the artist/Thomas Riley Studio
For the most part, his sculptural works are constructed from white or black archival paper and they sometimes exist as free forms like Eight Emperors Bloom, his crisp, contemporary variant of a paper flower, which you can hold in your hands, or can been viewed hanging inches off a wall in pleated relief form. You can see the influence of Islamic design in his complex geometric folds: conglomerates of diamonds, triangles, or even curved shapes which can amass into starbursts. More recently, he's experimented with what look like waves, slopes, and draping shapes, exploring the capabilities and limitations for stretching and rotating his material, always motivated by the desire to find out what the work of his hands will look like in the end.
Last January, he had a solo show at Florida Gulf Coast University, in Fort Myers, Florida that included a long, horizontal piece, Ara 117 (36 by 72 by 2 inches), which appears like the paper translation of a white-on-white quilt with a pinwheel center, light and shadow playing on the faceted geometric pieces. Because Shlian's curiosity has taken him farther afield, as he puts it, "into the cracks between art and other disciplines," the work is also about perception—how the eyes see structural organization in patterns even when there are deviations and irregularities. If you let your glance roam across the surface, you'll see unexpected asymmetries everywhere.
Shlian is interested the way mistakes can lead in all directions and in the way the brain anticipates repetitions and understands mirroring. In a variant constructed from silver foil but similarly designed around a wheel-like center, he continues to probe the basic functions of light, form, shadow, and curves while the creases and folds look like the craftsmanship of a diamond cutter. One of the finest pieces in the show, Ara 211, stretches into the form of two open fans, one facing up and one facing down, with intricate pleats, stars, cross shapes, and fans within the fans. The work is virtuosic, standing as an homage to the long tradition of paper folding in our material culture, and at the same time it vaults ahead, into the vanguard where science, technology, and the arts combine.
Related ItemsKirigamiMatthew ShlianPaper artPaper sculpture
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text:
"My Hero Academia Season 5" Confirmed Officially: The Expected Release Date, Plot, And Cast Are Here!!!
By Erin Last updated Apr 18, 2020
Expected release date, plot, cast of My Hero Academia Season 5
The Anime lovers will jump on their feet after hearing the news that the highly anticipated series My Hero Academia is going to release its 5th installment soon. The anime TV show My Hero Academia was chiefly based on the storyline of the admired mange series Kōhei Horikoshi's superhero.
The first installment of this popular anime series appeared on the online platforms back in 3rd April 2016. Following the first season, the second installment showed up on the 7th of April, 2018. After that released the fourth part on last year's 12th of October.
After the fourth season ended, it left the viewers wondering about so many questions and they were eagerly waiting for the next season to show up. In this article, we will inform you of all the newest updates of the show.
Expected release date of the My Hero Academia
After studying the pattern of the previous release dates, it is noticeable that the creators of the series might come up with the new season in the following year. If everything goes well, you could relish watching the series and get to know about the unsolved mysteries of the previous season shortly. The makers have shared no hint or clue about the confirmed release date yet. If we get any latest updates regarding the anime series, we will inform you right away. You can either choose to keep your eye in the 19th publication of Weekly Shounen Jump magazine to know about the official announcement of its release date. Check here: Index of Game of Thrones (Season 1, 2, 3, 4, 5, 6, 7 and up to Season 8) & Index of Money Heist Season 1, 2, 3 & 4 – All Episodes, Cast and Plot.
My Hero Academia Season 5 has officially been confirmed in Issue #19! pic.twitter.com/MEQNbEEGTB
— Weekly Shonen Jump (@WSJ_manga) April 2, 2020
Index of Money Heist Season 1, 2, 3 & 4 – All Episodes, Cast and…
The plot of My Hero Academia Season 5
From the previous resources, the storyline of season 5 is expected to center around the Joint Training Arc institution. The viewers would get to watch the students (class 1-A and 1-B) of the institution participating in several matches. Both classes will be seen competing with each other in order to enhance their proficiency and control. Similar to the fourth season, the viewers will again get to see Hitoshi Shinho as the center of attraction. The boy from class 1-b might be a calm and silent student but he is the utmost skillful and powerful.
Read more: The Grand Tour Season 4 Episode 2 Release Date, Video, and Updates
As per several resources, the series could broadly focus on the sections of 'Meta Liberation Army Arc'. You can also witness Dabi, who made the first appearance in season 4. In fact, the entire squad is predicted to show up more appealing skills and actions. Few new characters can also be introduced. Till then, stay tuned with us to get the more exciting and latest info of My Hero Academia season 5.
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Golkar Party Chairman, Airlangga Hartarto, admitted his party's focus was to increase the legislative seat of the Papua Province. Not only that, he also targets the victory of the presidential candidate Joko Widodo in West Papua.
"The Papua Province is very likely to add (add seats), since the Golkar barn and Mr.Jokowi's voice have been high in West Papua. Jokowi is important for West Papua, West Papua is important for Jokowi, "he said in Papua on Friday (02/08/2019).
He continued, he was optimistic that Golkar was able to become the second winner in the 2019 legislative election. However, he said this on the record, all party functionaries went down to meet with the community directly.
"I hope the central legislative candidates can consolidate at new potential points, data from the results of the survey release that say political parties that have not been fortunate to qualify for senayan," he said.


text:
Jovanice Twinobusingye is a Ugandan politician, legislator and woman representative member of parliament for Kiruhura District in the eleventh Parliament of Uganda. She is a member of the National Resistance Movement (NRM). She sits on the Parliamentary Committee on Public Service and Local Government which is chaired by Hon. Onzima Godfrey.

Political career
Twinobusingye was defeated by Mary Begumisa in the race for the NRM party ticket for Sembabule Woman member of parliament seat.  She won the NRM primaries defeating Nuweahereza Phionah and Mwiine Sheillah to become the NRM flag bearer in the 2021 national elections. Twinobusingye won the 2021 national elections to become the woman representative member of parliament for Kiruhura District in the eleventh Parliament of Uganda.

Twinobusingye was part of Rabecca Kadaga's core when she launched her bid for the third term in office during her re-election campaign at Speke Resort, Munyonyo in Kampala.

Other works
Twinobusingye was among the members of parliament of Uganda who decried the poor state of roads in her constituency while legislators debated on the motion urging the government to bolster efforts geared at promoting road safety that was moved by  motion moved by Alex Ruhunda,during the commemoration of the National Road Safety Week. She attributed having bad road to the low budgets of the Ministry of Works and Transport.

Controversy
Twinobusingye rejected 2020 NRM primaries election results when she was defeated by Mary Begumisa in the race for the NRM party ticket for Sembabule Woman member of parliament seat. Joy Kabasti who also rejected the same results claimed that several sub-county registrars were kidnapped for hours as they were transmitting the declaration forms to the district tally centre arguing that there was no way the results could remain reliable.

Twinobusingye  was among the four out of the seven candidates in the National Resistance Movement primaries  in Mawogola North and West constituencies, Sembabule District who rejected the use of National Identity Cards in the 2020 NRM primaries as a guildline which was issued by Tanga Odoi where by all voters had to present their National Identification cards before they could be allowed to vote for their candidate. Odoi noted that the commission intended to set clear identifications for legitimate voters for purposes of eliminating non-residents who could have sneaked or stealthily brought in the area to manipulate the process and he noted that the use of IDs would also prevent multiple voting by people from the other constituencies. Twinobusingye gave two reasons for her rejection, one was that many voters had either lost the cards or registered but they had not yet to picked them from the National Identification and Registration Authority- NIRA. The second reason was that many voters in the area were duped by some contestants to forfeit their cards as security after they had obtained bribes.

See also

 Rabecca Kadaga
 Flora Natumanya
 Sembabule District

References

Living people
Members of the Parliament of Uganda
Women members of the Parliament of Uganda
21st-century Ugandan women politicians
21st-century Ugandan politicians
National Resistance Movement politicians
Year of birth missing (living people)

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