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Cinema of Indonesia
Notes From Experimenta 2015
Posted by Just Another Film Buff under All Posts, Cinema of Argentina, Cinema of Canada, Cinema of China, Cinema of Germany, Cinema of India, Cinema of Indonesia, Cinema of Italy, Cinema of Portugal, Cinema of South Korea, Cinema of Taiwan, Cinema of Thailand, Cinema of the Philippines, Cinema of Vietnam | Tags: 32 and 4, Akbar Yumni, Anja Dornieden, Anuja Gosalkar, Beep, Bjørn Melhus, Black Sun, Cane Caro, Chan Hau Chun, Cloudgraphy, Colectivo Fotograma 24, Danaya Chulphuthiphong, Dog dear, Dok-Rak, Endless Nameless, Experimenta, Fictitious Force, Fish Point, Hail the Bodhisattva of Collected Junk, Halaman Belakang (The Backyard), Hawa Mahal, Helga Fanderl, Helmut Völter, Imraan C/o Carrom Club, Juan David Gonzalez Monroy, Korou Khundrakpam, Kyung-man Kim, Lauren Howes, Leslie Supnet, Louise Bourque, Luca Ferri, Masanao Abe, Memorials, Mike Hoolboom, Mont Tesprateep, Natee Cheewit, Night Watch, Ouchi Rieko, Pablo Mazzolo, Payal Kapadia, Phaisit Punprutsachat, Philip Widmann, Prantik Basu, Prapat Jiwarangsan, Reply Repeat Repeated Delete Favorite Favorited, Scrapbook, Second Sun, Shai Heredia, Shireen Sono, Tânia Dinis, The Asylum, The Last Mango Before the Monsoon, They're not fava beans they're scarlet runner beans, Truong Que Chi, What day is today, Wind Castle, Wolkenschatten, Ye Mimi, Yusuf Radjamuda |
The ninth edition of Experimenta, the now-biennial experimental and avant-garde film festival of India helmed by Shai Heredia, took place between 25th and 29th of November in Bangalore. Besides the international competition section, the roster consisted of sidebars on the politics of film form, the materially violent personal films of Louise Bourque (curated by Lauren Howes), the digital-video and television-based experiments of Bjørn Melhus (himself), the tranquil cine-haikus of Helga Fanderl (herself) and contemporary Indonesian (Akbar Yumni) and Filipino experimental cinema (Shireen Sono), each of them introducing me to unexplored territories of the avant-garde. The festival also sought to respond to the recent happenings in the country and show solidarity with the student protests at the Film and Television Institute of India (FTII). Three realizations from the festival:
Although a forward-looking curiosity to explore what the formats of the new century have to offer finds a salutary counterpoint from a tendency to militate for film (Melhus' cinema, always in conversation with the latest technological developments, and Fanderl's Super-8 partisanship that includes the act of changing-reels as part of the presentation), the exigencies of festival programming and the ease of breaking in to the filmmaking scene has, at least in this festival, rendered digital video ubiquitous (only 4 of the 30 films in competition were made on film, and these too were projected digitally).
Dictatorship and state repression, for better or worse, continue to be very productive frameworks to work within and supply artists with perennial inspiration. The Philippines has come a quarter century since the Marcos regime, Indonesia's been recovering for 17 years since Suharto's fall and Thailand's reeling from last year's military coup. The films from these countries in the festival all respond to them in ways direct and oblique.
Apichatpong's opened a Pandora's box.
(The following are some notes on 23 of the 30 films in competition. I could not see the rest and will update this post if I get to see them any time soon.)
32 AND 4 (Chan Hau Chun, China, 2015, 32min)
Chan's diaristic digital work is divided into chapters named after family members and unfurls as a process of piecing together of familial history. Through various confrontational interviews with her mother and father, the filmmaker attempts to understand their failed marriage, her strained relation with her step-father and the violence that has structured them both. Chan's decision to put her entire life-story on film is a brave gesture, but the film closes upon itself, satisfied to be a melodrama valorizing personal experience over broader frameworks. (Consider, in contrast, the rigorous domestic formalism of Liu Jiayin or the socio-political tapestry of Jia Zhangke's early work.) Chan misses the forest for the lone tree. Winner of the Adolfas Mekas award of the fest.
BEEP (Kyung-man Kim, South Korea, 2014, 11min)
Beep assembles anti-communist propaganda material from the 60s and the 70s commissioned by the South Korean state that was based on the mythologizing of a young boy, Lee Seung-bok, slain by North Korean soldiers. With the unseen, absent boy-hero at its focus, Kim's film depicts the dialectical manner in which a nation defines itself in relationship to an imagined Other. Kim makes minimal aesthetic intervention into the source material – our relation to it automatically ironic by dint of our very distance from the period it was made in – restricting himself to adding periodic beep sounds to the footage, producing something like a cautionary transmission from another world.
BLACK SUN (Truong Que Chi, Vietnam, 2013, 12min)
Black Sun opens with a composition in deep space presenting a metonym for a country in the process of development: high-rise buildings in the background as a pair of actors in period costumes rehearse a scene in the foreground. In a series of Jia Zhangke-like vignettes of Saigon set in middle-class youth hangouts scored to pop songs and television sounds, interspersed with images of a metamorphosing city, we see the distance that separates art from reality and the middle-class from the changes around it. The film culminates in a complex, home-made long take following the protagonist across her house and out into the terrace, where she dances, presumably to the eponymous song.
CLOUD SHADOW (Anja Dornieden & Juan David Gonzalez Monroy, Germany, 2015, 17min)
The most challenging and elusive film of the competition I saw is also the most hypnotic. Cloud Shadow gives us a narrative of sorts in first person about a group of people who go into the woods and dissolve in its elements. The film is obliquely a story of the fascination with cinema, of the trans-individualist communal experience it promises, of the desire to dissolve the limits of one's body into the images and sounds it offers. With an imagery consisting of sumptuous tints, and nuanced colour gradation and superimpositions, the film enraptures as much as it evades easy intellectual grasp. The one film of the festival that felt most like a half-remembered dream.
DOG, DEAR (Luca Ferri, Italy, 2014, 18min)
Ferri's teasing, playful Dog, Dear appropriates the filmed record of a Soviet zoological experiment in the 1940s in which scientists impart motor functions to different parts of a dead dog. In the incantatory soundtrack, a woman – presumably the animal's owner – repeatedly conveys messages to it, with each of them prefaced by the titular term of endearment. Ferri's film would serve sufficiently as a blunt political allegory about the dysfunction of communism, but I think it's probably fashioning itself as a metaphysical question: the dog might well be kicking but is he alive? His physical resurrection will not be accompanied by a restoration of consciousness. He will not respond to his master's voice.
ENDLESS, NAMELESS (Mont Tesprateep, Thailand, 2014, 23min)
Put together from footage apparently shot over twenty years at a Thai army officer's residence, Tesprateep's film shows us four conscripts working in the general's garden. We witness their camaraderie, their obvious boredom, the empty bravado in entrapping small animals and intimidating each other. The misuse of power by the officer in employing these youth to mow his lawn reflects a broader militaristic hierarchy, as is attested by the youths' casual violence towards the animals and their brutal torturing of a prisoner. Endless, Nameless recalls Claire Denis in its emphasis on military performativity and Werner Herzog in its juxtaposition of idyllic nature and seething violence, all the while retaining an immediate critical concern.
FICTITIOUS FORCE (Philip Widmann, Germany, 2015, 15min)
In Fictitious Force, Widmann incidentally poses himself the age-old challenge of ethnological cinema; how to film the Other without imposing your own worldview on him? The filmmaker smartly takes the Chris Marker route, avoiding explanatory voiceover for the rather physical Hindu ritual he photographs and instead holding it at a slightly mystifying – but never exoticizing – distance. Widmann's film is about this distance, the chasm between experience and knowledge that prevents the observer from experiencing what the observed is experiencing, however understanding he might be. Fictitious Force's considered reflexivity carefully circumvents the all-too-common trap of conflating the subjectivities of the photographer and the photographed.
FISH POINT (Pablo Mazzolo, Argentina, 2015, 8min)
Fashioned out of footage that the artist shot during his visit to the titular natural reserve in Ontario, Fish Point comes across as an impressionist cine-sketch of the locale. The film opens with Daichi Saito-esque silhouettes of trees against harsh pulsating light – near-monochrome shots that are then superimposed over a slow, green-saturated pan shot of a section of a forest. This segment gives way to a passage with purely geometric compositions consisting of alternating browns and greens and strong horizontals and verticals. Forms change abruptly and tints become more diffuse and earthly. We are finally shown the sea and the horizon, with a rough map of the area overlaid on the imagery.
HAIL THE BODHISATTVA OF COLLECTED JUNK (Ye Mimi, Taiwan, 2015, 7min)
A music video for a song that reportedly riffs on a holy chant and the traditional cry of the local ragman, Ye's film starts out with shots of old women and men lip-syncing to the titular melody before turning increasingly darker. The rag picker of the poem progresses from accepting material refuse to buying off diseases, emotional traumas and even intolerable human characters. Ye builds the video using shots both documentary and voluntarily-performed that portray everyday life in Taiwan as being poised between tradition and modernity. The junkman of the film then becomes a witness to all that the society rejects and, hence, to all that it stands for.
IMRAAN, C/O CARROM CLUB (Udita Bhargava, India, 2015, 14min)
Set in a suburban Mumbai slum, Bhargava's film takes a look into one of the reportedly many carrom clubs in the area where young boys come to play, smoke and generally indulge in displays of precocious masculinity. Where Imraan, the 11-year-old manager of the club, seems reticent before the camera, his peers and clients are much more willing to perform adulthood in front of the filming crew. While some of them are acutely aware of the intrusive presence of the camera, urging their friends not to project a bad image of the country, the film itself seems indifferent about the ethics of filming these youngsters, asking them condescending questions with a problematic, non-committal non-judgmentalism.
MASANAO ABE – CLOUDGRAPHY (Helmut Völter, Germany, 2015, 5min)
Völter's visually pleasing and relaxing silent film is a compilation of scientific documents of cloud movement over the Mount Fuji recorded from a static observatory by Japanese physicist Masanao Abe in the 1920s and 1930s. Abe's problem was also one of cinema's primary challenges: to study the invisible through the visible; in this case, to examine air currents through cloud patterns. The air currents take numerous different directions and these variegated views of the mountain situate the film in the tradition of Mt. Fuji paintings. The end product is a James Benning-like juxtaposition of fugitive and stable forms, a duet between rapidly changing and unchanging natural entities.
MEMORIALS (Korou Khundrakpam, India, 2014, 25min)
The most narrative film of the competition, Memorials situates itself in the tradition of 21st century Slow Cinema with its elliptical exposition, stylized longueurs, (a bit too) naturalistic sound and its overall emphasis on Bazinian realism. A young man revisits his father's house long after his passing and starts discovering him through the objects of his everyday use, while a dead fish becomes the instrument of meditation and grieving. Though rather conventional in its workings, Memorials offers the details in its interstices fairly subtly and touches upon the usual themes of inter-generational inheritance and posthumous rapprochement, while also gesturing towards a necessary break from the past.
NATEE CHEEWIT (Phaisit Punprutsachat, Thailand, 2014, 20min)
Punprutsachat's work is a straightforward document of the protracted rescue of a water buffalo from a man-made well on a sultry summer afternoon by dozens of village folk. Shot with a handheld digital camera and employing mostly on-location sound, the film presents to us the efforts of the villagers in chipping away at the edifice, restraining the animal from agitating and finally allowing it to go back to its herd. Natee Cheewit attempts to encapsulate the idea of eternal struggle between man and animal and, more broadly, between nature and civilization. The remnants of the demolished pit and the dog wandering about it are reminders of this sometimes symbiotic, sometimes destructive interaction.
NIGHT WATCH (Danaya Chulphuthiphong, Thailand, 2014, 10min)
Night Watch is reportedly set in the days following the military coup in Thailand in May, 2014 – a period of state repression dissimulated by triumphalist propaganda about reigning happiness. Chulphuthiphong's debut film showcases one quiet night during this period. Jacques Tati-esque cross-sectional shots of isolated apartments and office spaces show the citizenry complacently cloistered in their domestic and professional spaces, much like the sundry critters that crawl about in the night. Someone surfs through television channels. Most of them are censored, the rest telecast inane entertainment. Night Watch underscores the mundanity and the ordinariness of the whole situation, which is the source of the film's horror.
REPLY; REPEAT; REPEATED; DELETE; FAVORITE; FAVORITED (Ouchi Reiko, Japan, 2014, 6min)
A rapid editing rhythm approximating the audiovisual assault of the information age, a visual idiom weaving together anime, pencil-drawing and Pink Film aesthetic and a soundscape consisting of reversed audio and noise of clicking mice and shattering glass defines Ouchi's high-strung portrayal of modern adolescent anxieties. In a progressively sombre, cyclic series of events, a teenager navigates the real and virtual worlds that are haunted by sex and death around her. Ouchi's pulsating, mutating forms and her preoccupation with the hyper-sexualization of visual culture are reminiscent of Nobuhiro Aihara's work and the spirit of Maya Deren also hovers above in the film's centralization of the female body and mind.
SCRAPBOOK (Mike Hoolboom, Canada, 2015, 18min)
One of the high points of the festival, Scrapbook consists of videograms shot in 1967 in a care centre in Ohio for autistic children with commentary by one of the patients, Donna, recorded (and curiously re-performed by a voiceover artist at Donna's request) in 2014. Donna's words – indeed, her very use of the pronoun 'I' – not only attest to the vast improvement in her personal mental condition, but also throw light on the psychological mechanisms that engender a self-identity. For Donna and the other children-patients filming each other, the act of filming and watching substitutes for their thwarted mirror-stage of psychological development, helping them experience their own individuality, reclaim their bodies. Bracing stuff.
SECOND SUN (Leslie Supnet, Canada, 2014, 4min)
Canadian animator Leslie Supnet's hand-drawn animation piece is an extension of her previous work First Sun (2014), with the monochrome drawings of the latter giving way to bright primary pencil colours. Like its predecessor, Second Sun extensively employs basic geometrical shapes to represent cosmic phenomena and is scored to an exhortative percussive soundtrack hinting at a ritual, a summoning. The figures move strictly horizontally or vertically on checkered paper as though underscoring their mathematically precise cyclicity, with the central solar circle spawning clone stars, moons, planets and an entire solar system. The overall impression is that of witnessing a trance-inducing cultic invocation.
THE ASYLUM (Prapat Jiwarangsan, Thailand, 2015, 10min)
According to the program notes, the project brings together a real-life DJ who has lost her job after the coup d'etat in 2014 and an actual illegal immigrant boy from Myanmar at a secluded pond in the woods to allow them to do what they can't in real life. We see the DJ perform for the camera, talking with imaginary strangers, giving and playing unheard songs, while the boy is content in tossing stones into the moss-covered pond. Like a structural film, The Asylum, alternates between the DJ's 'calls' and the boy's quiet alienation, taking occasional albeit unmotivated excursions into impressionist image-making, to weave a vignette about ordinary people made fugitives overnight.
THE BACKYARD (Yusuf Radjamuda, Indonesia, 2013, 12min)
A Kiarostami-like narrative minimalism characterizes Radjamuda's naturalistic sketch in digital monochrome of a lazy holiday afternoon. A young boy perched near the window of his house engages in a series of self-absorbed activities, while actions quotidian and dramatic, including a hinted domestic conflict, wordlessly unfold around him off-screen. A series of shallow-focus shots rally around a wide-angle master shot of the backyard to establish clear spatial relations. Literally and metaphorically set at the boundary between the inside and the outside of the house – home and the world – Radjamuda's film is a pocket-sized paean to childhood's privilege of insouciance and to the transformative power of imagination.
THE LAST MANGO BEFORE THE MONSOON (Payal Kapadia, India, 2015, 19min)
The shadow of Apichatpong Weerasethakul's work is strongest in Kapadia's three-part work about the cycles of life, death and reincarnation and the interaction between mankind and nature, between the real and the surreal. Set in various regions of India and in multiple languages and shot predominantly between dusk and dawn, the film has a beguiling though mannered visual quality to it, with its appeal predicated on primal, elemental evocations of the supernatural. While Kapadia's superimposition of line drawings on shot footage to depict man's longing for and transformation into nature demands attention, the film itself seems derivative and a bit too enamoured of its influences.
THEY'RE NOT FAVA BEANS, THEY'RE SCARLET RUNNER BEANS (Tânia Dinis, Portugal, 2013, 10min)
A potential companion piece to Porumboiu's The Second Game (2014), Dinis's digitally shot home movie unfolds as a commentary upon itself. Consisting of scenes from the everyday routine of the filmmaker's animal-loving grandmother, overlaid with a spontaneous conversational commentary on them by Dinis and her rather talkative and humourous granny, the film is partly a tribute to the latter personality and partly a reflection on the capacity of cinema to preserve memory of people, time and place. Like in Porumboiu's movie, cinema furnishes the possibility of continuity between generations and the opportunity to meditate on the similarity and difference between them.
WHAT DAY IS TODAY (Colectivo Fotograma 24, Portugal, 2015, 13min)
At least as formally innovative as Rithy Panh's The Missing Image (2014), What Day Is Today, made by a young film collective from Montemor-o-Novo based on testimonies from older compatriots, digitally carves out from newspapers and newsreels human figures that act out the history contained in them. Charting the course of Portugal from the fascist period, through the Carnation Revolution and up to its Eurozone woes, the film depicts a nation which overcame oppression, poverty, superstition and inequality only to lapse into a passive consumerist catatonia, in the process abandoning the vision of the revolution and letting itself be hostage to a host of external economic forces.
WIND CASTLE (Prantik Basu, India, 2014, 14min)
Wind Castle opens with a complex composition made of an unfinished (or destroyed) building behind a burnt crater, with the moon in full bloom. We are somewhere in the Indian hinterlands, a brick manufacturing site tucked inside large swathes of commercial plantations. Basu's camera charts the territory in precise, X-axis tracking shots that form a counterpoint to the verticality of the trees. Noise from occasional on-location radios and trucks fill the soundtrack. A surveyor studies the area and trees are marked. 'Development' is perhaps around the corner. But the rain gods arrive first. Basu's quasi-rural-symphony paints an atmospheric picture of quiet lives closer to and at the mercy of nature.
(Images courtesy: Various film festival websites)
Posted by Just Another Film Buff under All Posts, Cinema of Canada, Cinema of France, Cinema of Germany, Cinema of India, Cinema of Indonesia, Cinema of Japan, Cinema of Turkey | Tags: A FEATHER STARE AT THE DARK, A+, Akbar Padamsee, ANOTHER COLOUR TV, Anuja Ghosalkar, Anuradha Chandra, ARS MEMORATIVA, ASHURA, BLACK POT AND MOVEMENT, BLOOD EARTH, BURNING STAR, Chaoba Thiyam, CHILDREN OF SHADOWS, Chris Gehman, DAYS OF FUTURE PAST, DEVI STUFFED GOAT AND PINK CLOTH, Ella Raidel, Experimenta, GESTALT, GOD BLESS AMERICA, HART OF LONDON, INCH-HIGH SAMURAI, INTERSECT, Jack Chambers, JAPANESE KITCHEN: THREE STORIES, Joe Hambleton, Joshua Gen Solondz, Karl Mendonca, Köken Ergun, Kush Badhwar, Lalitha Gopalan, Lauren Howes, MOUNT SONG, MY TOWN, Naoyuki Tsuji, Neil Beloufa, NEW HARVEST, Nobu Adilman, Nobuhiro Aihara, Pallavi Paul, Panchal Mansaram, PARTY ISLAND, PLAY LIFE SERIES, PULSE, REAR VIEW MIRROR, Scott Miller Berry, Shai Heredia, Shambhavi Kaul, SPACY, SYZYGY, Tabaimo, Tadasu Takamine, Takashi Ishida, Takashi Ito, Tanaami Keiichi, The Youngrrr, Tomomichi Nakamura, TRAVELS ABROAD, YELLOW SNAKE, ZONE |
By the time I got to know the details, I'd already missed half of this year's Experimenta, India's most prominent experimental film festival founded by Shai Heredia in 2003. This year's edition was impressive not only in its expansiveness, being categorized into competition section, country focus, artist talks, live performances and artist profiles, but also given that it was entirely crowd-funded, which surely calls for some cheers. I congratulate Experimenta and wish them bigger successes in the years to come. Here are some notes on exactly one half of this year's fest.
(Curated by Anuja Ghosalkar)
MOUNT SONG (Shambhavi Kaul, India, 2013, Video, 9min)
Shambhavi Kaul's elusive, melancholy and richly atmospheric film starts with images of storm inside an artificial jungle. We don't see the storm, just the idea of a storm, which is befitting for a film that traces the elements that constitute a sensorial experience, as when watching a film. Gliding through what looks like haunted, dilapidated sets for a Chinese martial arts movie, Kaul's film preoccupies itself with pure form, such as the amorphous outline a wisp of synthetic smoke, visceral, staccato edits between shots and the mysterious interplay of light, dust, colour and camera movement, under the veneer of an abstract genre piece located somewhere between Masaki Kobayashi and Tsui Hark.
BURNING STAR (Joshua Gen Solondz, USA, 2012, Video, 4min)
Modest in scope yet hypnotic in effect, Solondz's 4-minute animation in colour is admittedly a dedication to the artist's father who apparently wanted him to "make a more colorful work". Colourful, it certainly is. We see a twelve-sided star, alternatively imploding and exploding in dazzling primary colours, with spiky patterns that complement its periphery moving towards and away from the star's pulsating core, which serves both as the visual and true center of the symmetric image. The soundtrack dominated of what sounds like radio interference, reminiscent of Peter Tscherkassky's work, attains a musical regularity that makes the film easy to groove to.
PLAY LIFE SERIES (Ella Raidel, Germany, 2012, Video, 11min)
Raidel's four-part study of performativity in the visual media begins with a rigged-up sword fight between two actors suspended on ropes in the woods – a scene that is soon revealed to be a part of a film shoot, prompting us to reflect not only on the artificiality of the fight, but also the film crew itself. This Brechtian gesture of exposing the inescapable element of performativity that marks all filmmaking becomes the organizing principle for the rest of the film, which emphasize the artificiality of earnest forms – melodrama, music videos and even everyday confrontations – by creating an ironical distance between them and the audience through the presence of a film crew – hardly experimental.
PARTY ISLAND (Neil Beloufa, France, 2012, Video, 9min)
Performativity and ritualized interaction are also at the heart of Beloufa's raunchy video work that is set in an artificial, back-projected beach, where a bunch of actors stiltedly playing vacationers go through the codified rituals of vacationing, socializing and seducing. More interesting than its ham-fisted, part-Surrealist illustration of the sexualization of images and the subliminal representation of sex through phallic imagery are its formal pleasures – its tableau-like arrangement of actors in a claustrophobic setting, the equally suffocating chopped, restrictive images, the double framing of actors through geometric shapes, the intuitive, tactile editing pattern and the intriguing interaction among multiple visual planes.
BLACK POT AND MOVEMENT (Chaoba Thiyam, India, 2013, Video, 13min)
A simple, direct and even schematic equivalence characterizes Thiyam's modestly but precisely named film – that between the fabrication of the eponymous black pot and the formulation of a new movement by a pair of dancers. However, like its title, Thiyam's sepia-tinted film is entirely materialist in approaching this comparison, striking an equation between the pliant material using which the pot is made and the equally malleable bodies of the performers. The juxtaposition between the rhythm of repetitive labour and dance movements also attempts to collapse the gap between the artist and worker figures – a chasm that artists have always struggled with.
ASHURA (Köken Ergun, Turkey, 2012, Video, 22min)
One of the more assured and less academic entries in the programme, Ergun's compilation of vignettes from Ashura Day – the annual commemoration of the martyrdom of Hussein, the grandson of Prophet Mohammad, in the Battle of Karbala by minority Shia population in the outskirts of Istanbul – is a sketch of collective mourning, a reflection on the cultural regulation of expression of grief. Through an unforced collocation of theatrical religion and religious theater, the film demonstrates how heightened, artificial, popular forms become the most cathartic form of communal grieving and, in a general sense, how art's purpose of embodying and representing collective apprehensions still remains central.
BLOOD EARTH (Kush Badhwar, India, 2013, Video, 40min)
Squarely located in the now-too-recognizable genre in Indian documentary of partisan filmmaking against the repercussions of globalization, Badhwar's film is an account of the reactions of the residents of Kucheipadar village in Odisha to the acquisition of their bauxite-rich land by mining corporates. Shinsuke Ogawa it isn't, but Blood Earth's documenting of the often-glossed-over fault lines in a popular movement gives it a transparency frequently absent in its contemporaries. Its best moments, however, are completely apolitical: a protracted, fixed-camera shot of a room full of noisy, convening villagers that results in strange visual patterns over time and a Daïchi Saïto-esque tracking shot of roadside plants that delightfully takes the film for two minutes into a non-representational realm. Winner of the Adolfas Mekas award of the fest.
A+ (Nobu Adilman, Canada, 2012, Video, 6min)
Commissioned by the Liaison of Independent Filmmakers of Toronto, Adilman's charming, humourous and even suspenseful short video, scored to a guitar solo, presents us glimpses from the meticulously maintained, hand-written film-viewing diary of super-cinephile Moen Mohammed spanning the year 2011 (inferred from an entry on Trash Humpers), consisting of movie names, year of release, director name and grades. The result is not only a straightforward documentation of the tastes of one Antonioni-loving, Godard-disliking film buff, but also an indirect snapshot of the boons of new millennial cinephilia which facilitates the viewing of such a vast, variegated repertoire of films within a short period of time.
TRAVELS ABROAD (Karl Mendonca, USA, 2013, Video, 7min)
Mendonca's petit film diary was shot in 8mm apparently over six years (go figure!) and charts the filmmaker's return home from New York to India. We see the filmmaker's ride back home through the eyes of an outsider, his (grand?) parents and his trekking into the local woods presented in a typical home video aesthetic, sometimes presented in time lapse. Marked by circular motifs, Travels Abroad is a self-proclaimed exploration of themes of migration, identity and belonging, but, in actuality, it never rises about its home movie banality and accomplishes little more than what any everyman equipped with a video camera flying back home would have shot.
PULSE (Anuradha Chandra, India, 2013, 16mm, 15min)
A sketch of Rotterdam in 2008, Chandra's 16mm project presents out-of-focus, low frame rate, time lapse images of the city and its environs that are abstracted till the limits of perceptibility. Owing to high exposure times, people, vehicles, seasons and the time of day are abstracted out and the residual record of static structures underscores the strongly geometrical nature of urban constructions. These images, frequently dominated by a single saturated colour, carry a tension between movement and stasis. On a level, Chandra's film is an Impressionistic portrait of a city (with pointillist images) that explores how far a geographical entity can be visually abstracted so as to retain its identity.
DAYS OF FUTURE PAST (Joe Hambleton, Canada, 2012, Video, 8min)
One is reminded of Chris Marker, especially the melancholy Level Five (1997), while watching Hambleton's refreshingly widescreen structural film that employs a repeating element – the camera looking through the windshield of a car rolling on a highway before slowly zooming out and refocusing onto an object fixed to the car ceiling – while a voiceover recites what sound like diary entries of a gamer wandering internet message boards. We are in the far future, it would seem, and the current day objects – joysticks, electronic toys and other curios – in the car appear like shards from a past. The result is a meditation on memory, a reflection on how geography and everyday objects bear the trace of history.
ANOTHER COLOUR TV (The Youngrrr, Indonesia, 2013, Video, 9min)
The Youngrrr Collective's simple and amusing critique of the isolation of the middle class from history would perhaps have been more effective as an installation, wherein the contrast between the two sections of the screen we see – a mute assortment of various local TV telecasts serious and frivolous and the reverse-shot of a middle-class household hooked to soap operas, 'reality' television and religious sermons and literally imprisoned within the frame of the television – would have been even sharper when placed face-to-face. Nevertheless, by locating tawdry television productions alongside their passive consumption and internalization, the film brings to surface the artificiality of the family's time together and the ideological-mediation of their private conversations.
NEW HARVEST (Pallavi Paul, India, 2012, Video, 11min)
A discordant combination of talking-heads interview of a politically dissident poet, educational documentary about the desire of scientists to alter nature's rhythm of day and night and morsels of letters real and imagined between two writers shot in digital video with harsh light sources that form deep chiaroscuros, Paul's project revolves around things utopian – ideal yet impossible – images unmade, roads not taken. The segments or the fragments of narratives within each are linked by a dream-logic which suggest a impossibility but seem to look forward to a future where these dreams might be realized. The outcome is a set of vague stabs at anarchist political hopes.
ARS MEMORATIVA (Scott Miller Berry, Canada, 2013, Video, 20min)
Ars Memorativa – Art of Memory – refers to the methods and techniques we use to remember things, but in Berry's four-part examination of audiovisual media as incubators of personal memory, it also points to cinema as the preeminent art of memory, of remembrance. Amalgamating analog and digital video, celluloid and audio recordings, whose scratches, smudges and crackling noises, in their own way, act as traces from the past, the film partly ruminates on the purpose of cinema as an authentic document, as evidence of a person's existence. Berry's film is a modest reflection on how home movies, music records and photographs, after a person's passing, develop the quality of preserving the history of the person's life.
SPECIAL FOCUS: JAPAN
(Curated by Chris Gehman)
GESTALT (Takashi Ishida, Japan, 1999, 16mm, 6min)
With a beguiling organ-driven soundtrack, Gestalt impresses us with the transparency its of intention, as the title makes clear, and the single-mindedness of its approach. Ishida's delectable study in 16mm of the malleability of our perspective of space, apparently achieved by continuously repainting the walls of a room, founds itself on the interaction of various geometric and non-geometric motifs that make the space appear alternatingly two and three-dimensional. The effect is to continually keep altering our impression of the room space, and in critical theoretical terms, to undermine the artwork's interpellation of the viewer as a subject and to destabilize the Albertian perspective on which his/her relationship with the image is based.
A FEATHER STARE AT THE DARK (Naoyuki Tsuji, Japan, 2003, 16mm, 17min)
In the dream-like way normally unrelated objects segue into each other, Tsuji's hand-drawn illustration of a made-up Creation myth reminds one of the Surrealist game of Exquisite Corpse, and perhaps even the works of Dali. Tsuji's method involves drawing with charcoal on paper, photographing the result, erasing the plate and redrawing the next frame. The result is that the each frame carries a trace of the previous and, consequently, the film chronicles its own history, its own making. Tsuji's drawings are unrealistic, disproportional, undignified and composed of fluid forms that throw his method into sharp relief. The outcome is closer to sand animation than traditional drawing
YELLOW SNAKE (Nobuhiro Aihara, Japan, 2006, Video, 10min)
Pitched between non-representational and traditional 2D animation, Aihara's purposefully unwieldy video work, made 5 years before his demise in 2011, consists of two distinct visual planes – a periodic flux of semi-representational figures (bottles, fingers, planets, doughnuts) progressively growing in size to give an appearance of coming out of the screen (and hence the appearance of three-dimensionality) and a realistically drawn two-dimensional yellow hand with a pointed index finger that keeps poking into this swarm of monochrome objects – laid over a discordant soundscape. Mischievous and gleefully indulgent, Yellow Snake, if not anything else, is a reflection of the artist's own playful relationship with his drawings.
MY TOWN (Tomomichi Nakamura, Japan, 2007, Video, 17min)
A mélange of even wider variety of animation techniques marks the quasi-Cronenbergian My Town, which draws from low-resolution photography, stop-motion animation, commercial anime drawing and video game graphics on which rudimentary pencil sketches without much foreshortening are overlaid, which, in essence, inscribes two-dimensional objects in three-dimensional space. Nakamura's part-science-fictional part-fantastical narrative seemingly about a virus outbreak, an ensuing nuclear war and the eventual wiping out of humanity is distinguished by its soundtrack – a combination of drum beats, electronic music and low-frequency noise – and its cinematic approach to space – its simulation of film camera and its depiction of flat objects in three-dimensions.
SPACY (Takashi Ito, Japan, 1981, 16mm, 10min)
Intermittently stitched together from hundreds of photographs taken inside a gymnasium exhibiting these very photographs, Spacy is a structural study of cinematic space that creates a mise en abyme of photographed spaces into and out of which we move until we are no longer sure of which 'level' we are in. Despite the rapid stream of images shot at us, our focus remains firmly fixed at the geometric center of the image around which the configuration of represented space changes continuously. This trait, along with the absence of any vertical camera movement and the many levels of space negotiated, places the film alongside contemporary First Person Shooter games like Doom.
ZONE (Takashi Ito, Japan, 1995, 16mm, 13min)
Ito's intense and claustrophobic piece, positioned between postmodern music videos and generic horror, shows the reanimation to life of a headless man wrapped in gauze and tied to a chair in a room populated by mirrors, a bandaged toy truck, a masked figure with light sources on him and framed photographs of eerily empty locations. Rife with movement – pleasing lateral tracking shots, time-lapse photography, reverse video and stop-motion animation – Zone plays on Kracauer's idea of cinema as resurrection of dead objects from the ghastly stillness of photography. Ito's psychologically motivated film is closer to classical Expressionism than his earlier structural work.
JAPANESE KITCHEN: THREE STORIES (Tabaimo, Japan, 2000, Video, 9min)
A more traditional style, closer to commercial Japanese animation, marks the three-episode Japanese Kitchen, which presents sketches of a housewife trying to imitate recipes shown on daytime television. The manner in which the banality of the situation is superimposed over chilling body horror – beating small men and women in a mixer to produce babies, deep frying the male brain and seeds that have people crawling out when soaked in water – betrays a trace of populist horror cinema, television and literature. Tabaimo's tongue-in-cheek triptych – commissioned for television whose audience is the very subjects of her film – proposes tantalizingly easy and morbidly humorous solutions to the demographic problems of Japan.
INCH-HIGH SAMURAI (Tanaami Keiichi and Nobuhiro Aihara, Japan, 2007, 16mm, 8min)
One of Aihara's last films, Inch-High Samurai is admittedly a tribute to and a re-imagination of a popular manga series the directors used to read as kids that presented the adventures of a Samurai measuring an inch in height. The difference is that this film taps directly into the libidinal foundation of the manga and crystallizes the sexual and violent forces brimming beneath. Hyper-kinetic, raunchy and decidedly over-the-top, the film opens with drawings of various body parts floating on the sea from where the little phallic Samurai begins his extremely telescoped set of frenzied adventures that is, quite literally, the stuff of wet dreams.
CHILDREN OF SHADOWS (Naoyuki Tsuji, Japan, 2006, 16mm, 18min)
A ghastly spin on Western fairy tales, especially Hansel and Gretel, Children of Shadows is a tale of survival and growing up that is constructed with fluid, curvy and continuous forms that facilitate and highlight Tsuji's charcoal on paper approach. The artist uses his POV like a moving camera and negotiates a three-dimensional space even when he abstains from providing a stable reference as in traditional drawings which makes it tougher to judge location or proportion. The movement of characters is slowed down, as though traversing an oneiric space, there is an affinity for closed forms and the humour is black and the drawings joyfully vulgar.
GOD BLESS AMERICA (Tadasu Takamine, Japan, 2002, Video, 12min)
Takamine's God Bless America gives us the artist and his female assistant sojourning inside a red-walled studio while working on a massive lump of clay present in the center of the screen and the room. We see them pass 18 days working, eating, socializing and having sex in time lapse while the clay head is moulded in such a way that it appears to sing the titular hymn in real time. If this construction of twin time frames within a single film derives from music videos, the integration of the work of art into lived-in space derives from architecture, where it becomes an object to be experienced intuitively by habitude instead of through active contemplation.
ARTIST PROFILE: JACK CHAMBERS
(Curated by Lauren Howes)
HART OF LONDON (Jack Chambers, Canada, 1970, 16mm, 79min)
Stan Brakhage called this final film of Canadian visual artist Jack Chambers, who died of leukemia in 1977, one of the greatest films ever made. Chambers' predominantly found-footage film exhibits touches of Brakhage's own work, especially Dog Star Man (1961-64), in its use of roving secondary exposure, image overlaps, negatives, faster frame rates and high-velocity montage and its partly phenomenological approach to images. Opening with footage of a deer hunt – an event that would haunt the entire film – the first section of Hart of London is scored to the sporadic sound of the elements of nature and engages with visuals of architecture and everyday life in London, Ontario, superimposed with a negative that results in stereoscopic images at certain points, and, at times, abstracted away from photorealism to the point where we only observe black dabs on a white screen. Towards the midpoint, the film moves away from superimposition towards montage as the primary technique for meaning creation. It is from hereon that the film crystallizes its exploration of the cycle of life. Images from a slaughterhouse are intercut with those of a baby, dead sheep fetuses are juxtaposed with a human newborn. The architectural marvels of the first segment are responded to in the second by destruction and demolition of buildings, which become as much a spectacle as the former. On one level, the film is certainly an indictment of human egotism, which places humanity at the center of the universe and deems it as being the prime mover of all things. But it is also a meditation of humanity's ceaseless capacity to learn, endure and survive and the film abounds with symbols of birth, rebirth and resurrection. This view of humanity from a detached, godlike-perspective takes the film closer to the oeuvre of Artavazd Peleshian, whose ultimately hopeful view of life, Hart of London echoes, however less emphatically.
ARTIST PROFILE: PANCHAL MANSARAM
(Curated by Shai Heredia)
INTERSECT (Panchal Mansaram, India, 1967, 16mm, 6min)
Panchal Mansaram was already established as a collage artist when he came to cinema and this transition is evident in the approach to his material in Intersect, which mashes footage shot during his interactions with Satyajit Ray, Ravi Shankar and Marshall McLuhan with excerpts from TV and radio commercials. "East and West are becoming like each other" goes one stray audio bite. Evocative of the many fine experiments at Films Division – yet not as pointed or as rigorously thought out – Intersect was completed after Mansaram's emigration to Canada and reflects the director's own transnational status – an autobiographical element which he explored further in his mixed-media installations.
DEVI, STUFFED GOAT AND PINK CLOTH (Panchal Mansaram, Canada/India, 1967, 16mm, 16min)
An assortment of impressionistic vignettes from the city of Bombay – a place that Mansaram calls "collage in motion" – strung together by the pervading presence of the beautiful lady of the title, her stuffed goat and a piece of pink cloth, this 16mm quasi-Nouveau Realist project tries to comprehend a city partly through its extraordinary human specimen, decrepit objects and familiar images. Some passages of the film, scored to a mix of flute, trumpet and percussions, seem straight of a René Magritte tableau in the way they piece together completely dissociated commonplace objects, even though this disruption of everyday logic seems less like an ideological intervention than a gleeful vagrancy of a mischievous imagination.
REAR VIEW MIRROR (Panchal Mansaram, Canada/India, 1966-2011, 16mm, 13min)
45 years in the making, Rear View Mirror spans the entire career of Mansaram as a filmmaker and opens with the voice of the artist reciting a piece of autobiographical information. Seen through the eyes of two young tourists entering a city on a horse cart, the film unfolds as a kind of 're-entry' into and 'looking-back' at his life in India, especially his early years in his hometown of Mount Abu in Rajasthan, suffuse with reds, yellows and browns. The images of the convivial atmosphere at the local fete is complemented by sundry images – spiritual and profane – from the city linked together by the director's characteristic sense of humour.
ARTIST PROFILE: AKBAR PADAMSEE
(Curated by Lalitha Gopalan)
SYZYGY (Akbar Padamsee, India, 1970, Video, 6min)
Bombay-based abstract artist Akbar Padamsee made his transition to cinema with the help of ace cinematographer K. K. Mahajan and was apparently held in high regard by Mani Kaul. A product of the short-lived Visions Exchange Workshop (VIEW) founded by Padamsee as a platform for enabling interaction between painters and filmmakers, the soundless animation Syzygy begins with basic geometric figures moving on the screen in regular patterns. With mathematical regularity, these figures morph into word grids and number lines representing distances, which in turn, gradually, give way to more complex intersection of line segments – mazes, meshes and networks. The resulting images bear similarity to the works of Mondrian and Kandinsky and serve to illuminate emotional correlatives to purely aesthetic forms such as the sense of spaciousness and liberation offered by a diagonal line slashing across a matrix of verticals and horizontals. Despite its ostensibly stream-of-consciousness approach, all the images have a regularity, harmony, and balance which throw light on Padamsee's structured and perhaps even classicist thinking process.


Sophie Grégoire is the wife of newly appointed Canadian Prime Minister, Justin Trudeau. Her 43-year-old hubby claimed the job after the Liberal Party won the Canadian elections on Monday night. Justin Trudeau's new status gives his lovely wife an automatic boost, as the new first lady.
Justin Trudeau was a member of Parliament, Quebec, Papineau, Liberal Party of Canada. His name is quite known, he is the eldest son of former Prime Minister of Canada Pierre Trudeau and Margaret Trudeau.
Want to know more about the hottest couple in politics? You are in for an interesting story!
Sophie Grégoire met her husband actually because she was friends with his younger brother, Michael –who sadly died in 1998 in an avalanche accident. The two would connect years later, in 2003, to be exact, after they hosted a charity event together. At the time Sophie Gregoire worked as a TV and radio host. It took one more encounter, until they finally exchange digits and began dating.
On their very first day, Justin confessed her love for her saying: 'I've been waiting for you for 31 years. You're going to be my wife. We're going to have a family together.' And that's exactly what happened. Sophie Grégoire and Justin tied the knot in 2005. The ceremony was held May 28, 2005, at Montreal's Sainte-Madeleine d'Outremont Church.
Sophie Grégoire and her hubby are the parents of three children: 8-year-old Xavier, 6-year-old Ella-Grace and 1-year-old Hadrien.
Sophie Grégoire is not a stranger to the spotlight. She's been right there next to her man's side on the campaign trails. She's been a major supporter of his career since day one. According to the Huffington Post, the mom of three, has worked in a few different jobs, including personal shopper, TV reporter and yoga instructor.
Sophie Gregoire, has also volunteered with causes like Clinique BACA, which helps people with eating disorders, and the "Because I Am a Girl" campaign helping expand girls' education and access to healthcare, according to the Liberal Party's website. In her youth, she's said she struggled with bulimia and mental illness, something she's been quite open about.
With her background in front of the cameras, Sophie is not shy when it comes to lending her voice to what's important to her. She has spoken to the UN Women National Committee Canada, and other organizations including, BACA, Girls for the Cure, the Looking Glass Foundation.
Sophie practices hatha yoga, which says has changed her life. According to Montreal Families Mag, she gets involved in community projects aimed at helping women in any way possible.
The blonde studied commerce at McGill University, but switched to communications at l'Université de Montréal. She also hold a degree at École de radio et télévision Promédia in Montreal.


text:
"use strict";

var assert       = require("chai").assert
  , ensureObject = require("../../object/ensure");

describe("object/ensure", function () {
	it("Should return input value", function () {
		var value = {};
		assert.equal(ensureObject(value), value);
	});
	it("Should crash on no value", function () {
		try {
			ensureObject(null);
			throw new Error("Unexpected");
		} catch (error) {
			assert.equal(error.name, "TypeError");
			assert.equal(error.message, "null is not an object");
		}
	});
});

redpajama_set_name: RedPajamaGithub


Qualified experience with educated trainers. Individualized sessions tailored specifically for your body and your goals.
Developed by exercise physiologists, each class is designed for groups of 6-12 people and focuses on strength, burnout, and speed.
At MyoRenew, our team of dedicated and passionate therapists bring their knowledge of human movement and the latest manual therapy techniques together to bring you an interactive and individualized one-on-one experience.


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text:
Q: Getting the dimensions of an svg path without using bounding box Would there be a way to get the dimensions of an svg path and display it in a div? The bounding box is not an option as it is buggy in Webkit when it comes to bezier curves. I am doing a modification of svg-edit btw: https://code.google.com/p/svg-edit/
This is what im currently using.
    <script>
    var myVar=setInterval(function(){getDimensions()},10);

    function getDimensions()

    {

  svgNode = svgCanvas.getSelectedElems()[0];

var getw = svgNode.getBoundingClientRect().width;
var geth = svgNode.getBoundingClientRect().height;
getw= parseInt(getw);
geth= parseInt(geth);
 document.getElementById('heightbox').innerHTML = geth;
 document.getElementById('widthbox').innerHTML = getw;

}

    </script>

Unfortunately thre bounding box is unreliable. Any ideas other than the bbox?

A: RaphaelJS has a utility method for determining the bounding box of a path - http://raphaeljs.com/reference.html#Raphael.pathBBox
var dims = Raphael.pathBBox(pathString);
var getw = dims.width;
var geth = dims.height;

redpajama_set_name: RedPajamaStackExchange


Mauri Menga is the makeup artist and hair stylist of many of my photographies. A friend that shared with me his time, passion and love for storytelling.
Two new portraits made in our studio in Rome of the young italian actress Vera Dragone. Makeup by Mauri Menga. Hairstyle by Ernesto Biagetti.


Your wedding day is one of the most special days in your life. Let us help make it memorable for all of the right reasons. Bacchus Event Services will work with with you to ensure you have the perfect selection of beverages. From custom wine pairings to specialty drinks encompassing the personalities of the bride and groom, we will make sure your wedding day is remarkable.


What's unusual about the above photo? Perhaps you haven't noticed an important detail: 1976 refers to the year in which a special edition of yogurt was created to celebrate the Montreal Olympics over 40 years ago. The photo spread around the world like wildfire on social media in 2016 after the Frenchman Matthew Leroux posted on Twitter that he had found the intact yogurt pot washed up on a beach.
The yogurt pot symbolizes the thousands of tons of difficult-to-remove plastic waste that pollute our oceans on a daily basis. This is harmful not only to numerous species of marine animals, which often mistake plastic waste for a viable food source and can often end up dying from ingesting it, but also to us human beings, because much of the microplastic particles end up in the guts of fish and seafood and ultimately on our dinner table!
According to the World Bank, the world's cities produce enough waste to fill a 5,000-kilometer line of trash trucks every day. The lack of environmentally sound waste management and improper waste disposal is a serious problem for our seas and oceans. Because it is light, plastic is easily washed by rain into rivers, meaning that a large proportion of improperly disposed of waste ends up in the seas and oceans. It is estimated that over 8 million tons of plastic end up in our oceans each year, which is equivalent to a garbage truck of waste dumped into the oceans every minute!
On the other hand, it is important to recognize the benefits of plastic to society. Versatile, hygienic, moldable, often recyclable, flexible, cheap, durable and resistant, plastics are a part of our daily lives. And, even if plastic is one day replaced, make no mistake, it will be necessary to dispose of the waste produced by its substitute in an environmentally sound manner so as not to repeat the same problems we have with plastics today. In other words, the problem is not plastic itself, but rather how we dispose of it. This is especially true when it comes to the excessive use of disposable products used only once or twice before being "thrown out", generating unnecessarily large quantities of garbage. We must therefore seek to avoid the trivialization of the use of plastic in disposable products, which should only be used for health and safety reasons (for example, syringes). And, in such cases, even greater care should be taken to ensure that these items are disposed of safely and in a properly controlled manner.
This complex and serious problem requires joint efforts. Government, business and society should work towards reducing the use of disposable plastic products, replacing them with reusable products (which are often made of plastic!) and ensuring the sound management of plastic waste. Consumers should help ensure the proper disposed of their waste by separating "organic" materials (animal and vegetal waste, such as food waste) and "dry" material (paper, metals, glass, and plastic, for example) and taking the dry waste to recycling cooperatives, where recyclable items are separated and sent for recycling.
But, RECYCLING IS NOT ENOUGH. The conscious consumer should also seek to REDUCE the amount of trash he/she produces. When it comes to plastic, avoid using disposable products (straws, cups, plates, cutlery, plastic bags, etc.) that are used only once or twice, replacing them with reusable ones. Around 35% of plastic products are used only once and for an average of 20 minutes! Furthermore, according to a study conducted by the Race for Water Foundation, around 10% of this waste ends up in the sea due to improper disposal.
Business also has an important role to play in tackling ocean plastic pollution, falling on companies to educate consumers, develop innovative packaging solutions, and reduce their impacts on the environment and society. Moreover, since the majority of plastics do not degrade, but rather break down into tiny particles, companies that produce the raw materials used for manufacturing plastic products should focus on developing biodegradable plastic that does not produce harmful by-products when it degrades. Although there are a number of biodegradable plastics on the market, they have yet to gain scale.
Another solution for the consumer industry is the development of concentrated products to enable the use of smaller packaging, thus reducing the volume of waste and alleviating the problem of improper disposal, as well providing other environmental benefits.
It is also necessary to create processes that allow the consumer to return plastic products to companies for reprocessing to ensure waste reaches its proper final destination – the so-called "reverse logistics" approach envisaged by Brazil's National Solid Waste Policy.
The government has an important role to play in providing adequate waste collection and reprocessing infrastructure, supporting successful industry initiatives and the development of technology for environmentally sound waste management, and in promoting individual and collective attitude and behavior changes, whether through legislation that encourages sustainable solutions or education and publicity campaigns. The population needs to put pressure on politicians to create laws and support education and communication initiatives that are essential for creating and sustaining change. Overall responsibility should therefore be shared by all actors and stakeholders in society, without which solutions will not work. Let's work together towards sustainable living!


This project spawned after watching "Gladiator". I sat in the basement of my house fascinated at the opening scene. At 14 years old I was blown away by the coordination of the Roman Legions and the complexity of the siege machines. I do not know where my fascination came from but after that scene I was overwhelmed with a desire to recreate a siege weapon, in particular I wanted to rebuild the "Ballista".
I explored and researched as much as I could about how Ballistas worked and their methods for construction. I learned about rope engines and quickly set to work building my first full size siege engine. I spent weeks working in my grandfather's basement creating my masterpiece only to watch it self destruct under its own power during the first test shot. I was devastated and spent a year on other projects before the idea of starting small and building a prototype came to me.
So during my junior year of college I started small with an engine that only measured 12 inches by 6 inches by 3 inches. Mission Successful and capable of launching a pencil over 50 feet.
The next logical step was to scale up and modify my design from my lessons learned on the prototype. I doubled the size of the engine to 24 in. by 12 in. by 6 in and was able to launch a full size arrow over 400 feet.
Not satisfied with my Balista's and eager to yet some more modifications to the design. I double the engine a second time to a overall size of 48 in by 24 in by 12 in. I struggled with my woodworking capabilities. I struggled with the mechanical properties of materials. I struggled with design of the structure and various mechanical components like the trigger, sling, and winch. I discovered Auto Cad and proceeded to model my idea to help calculate the angles and lengths of each board that made up the creation. Finally after a few months of work I stepped back and took in the 12 foot tall 15 foot long behemoth. I was afraid to wind this machine to anywhere close to full potential and couldn't make my rope bundles as large as I wanted to because I ran out of money for rope but it was still able to throw an men's shot put a distance of 70 feet.


Debt consolidation simply means combining all of your debts into one single loan.
If you have a significant amount of debt across various lenders – say for example, car finance, credit card debt, rent-to-buy schemes or retail cards, then it can be a wise strategy to consolidate all these.
Credit cards, car finance, rent-to-buy schemes and the like are considered 'expensive debt'. They usually attract high interest, and often hefty penalties apply if you don't make a payment on time. If you're struggling to repay the debt, and miss a couple of repayments then it can quickly add up to more and more money.
On the other hand, personal loans are usually much cheaper. If you have a mortgage, then consolidating all your other debt into your mortgage can be a good idea too, particularly while rates are low, so you'll save on interest.
Consolidating several debts into one also means that you'll only have one monthly payment to keep track of. This can make it easier to budget and it can mean that you're able to avoid other penalties like late payment fees.
To decide whether or not debt consolidation is the right option for you, you need to consider the pros and cons carefully. Take time to consider your options carefully, and get professional advice about your particular situation.
How much money you owe on each debt.
The total of all debt owing.
How much interest you are paying for each debt.
How long is the term of finance?
Are you currently incurring penalties or late fees for not paying on time?
Have you checked the fine print? What's the cost of breaking the contract earlier than the full contract period?
Debt consolidation is one way you can take control of your finances and improve your credit rating. A mortgage broker can help you decide on a strategy, and then, if need be, find you a lender willing to provide a debt consolidation loan. As a follow up, it's important too, that you get the right guidance so you can avoid the debt-trap in the future.
Now that Australia has introduced Comprehensive Credit Reporting, it's important that everyone has control over their debt. Getting a bad credit rating can adversely affect your ability to borrow money down the track.
If you'd like more advice about your particular situation, contact us. At Simplify Finance we have a Sydney-based team who can meet with you anytime.


Want to know about how I negotiated my best real estate deals?
Home ownership is a beautiful thing and I love seeing my buyers happily opening the door to their new home on possession day. I also get great satisfaction from helping my sellers get the best price possible for their home when it is time to move on to another property.
Remember, I will be working for you every step of the way to make sure that you get the highest possible price for your home in the shortest period of time. Read More..
Let me help you every step of the way. When purchasing a home, you are faced with a multitude of decisions! The primary one is you with your home. Read More..
The real estate market is continuously changing which makes it incredibly difficult to keep up with the ins and outs. If you're not a real estate agent or are not directly linked to the industry, it can be extremely hard to know what to expect from the real estate market.
" I became a Realtor in January 2009 because I enjoyed looking at Edmonton Area homes FOR FUN! This passion really translates into my work as I LOVE my career. I truly enjoy meeting new people, driving around the Edmonton Area, looking at all types of homes, and helping people find the most desirable asset of their life.


text:
Convergencia Canaria (CC) fue un partido político de las Islas Canarias de carácter insularistas. Fue inscrito oficialmente el 3 de septiembre de 1982 por miembros de UCD canaria y se presentó a las elecciones generales de España de 1982 contando con el apoyo del Partido Demócrata Liberal, obteniendo 25 792 votos (0,12%).

En 1983 adoptó el nombre de Convergencia Nacionalista Canaria y se presentó a las elecciones autonómicas canarias de 1983, donde obtuvo 24 483 votos (3,96%), con un máximo del 8% en la provincia de Las Palmas, y un escaño. Poco después comenzaría un acercamiento con el naciente Partido Reformista Democrático de Miquel Roca, cambiando su nombre a Convergencia Canaria Reformista.

En las elecciones autonómicas canarias de 1987 se presentó como Unión Canaria de Centro (UCC) en Gran Canaria y Fuerteventura, en coalición con el Partido Liberal (PL), pero solo obtiene 15 580 votos (2,34%) y ningún escaño. En 1993 acabaría integrándose en Coalición Canaria.

Referencias

Partidos políticos de Canarias
Partidos nacionalistas canarios
Partidos políticos de España posteriores a la Transición
Partidos políticos desaparecidos de España

redpajama_set_name: RedPajamaWikipedia


State Sen. Van Taylor's eight years of legislative experience, and his deep knowledge of national issues that affect Texas, make him the best choice for the 3rd Congressional District to succeed veteran Rep. Sam Johnson.
Taylor, 46, has been a state senator since 2015 and was a Republican member of the state House for five years before that. He's proud of working across the aisle on bipartisan practical solutions to real problems. That experience gives him a head start over impressive newcomer Lorie Burch, a Democrat and attorney.
Taylor is a Marine vet, so he understands issues facing U.S. veterans. And he's a solid conservative for this Collin County district who vows to meet with 100 percent of those who ask him to because he believes "constituents have the best ideas."
We also like that he's a fiscal conservative who believes government has gotten too big and expensive, and recognizes that Congress has given too much of its legislative power to the executive branch.
We're concerned that Taylor steadfastly prioritizes securing the border over all other immigration solutions, but at least he has a strategy to break the frustrating logjam in Washington: dividing the many issues into individual bills instead of one massive overhaul.
There's a lot to like about Burch, a 41-year-old Plano resident who owns her own law practice. Her time in Washington working on policy issues has served her well. And her collaborative instincts around getting more citizens to vote and campaign finance reform are refreshing. She's one to watch and we'd encourage her to seek another office, perhaps at the state level.
For this race, Taylor's the better choice.


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Deirdre Smith
Deirdre Smith is a doctoral candidate in the department of Art History at the University of Texas at Austin. Her primary research interests include the art of the 1970s in Europe and the United States, the role of the artist in society, and labor. Her dissertation, "Umjetnik radi: Stilinović and Trbuljak on Art, Work and Life" juxtaposes and analyzes the careers of two key figures of Yugoslav New Art Practice, Mladen Stilinović and Goran Trbuljak, within a broader history of the art world of former Yugoslavia and the city of Zagreb. Ms. Smith earned a master's degree from George Washington University where her thesis focused on Sol LeWitt's wall drawings and the experiences of LeWitt's assistants. She has held internships at the Hirshhorn Museum and Sculpture Garden, the Baltimore Museum of Art and the Wadsworth Atheneum Museum of Art.
Fri, Oct 13, 2017, 09:30 AM – 07:00 PM

redpajama_set_name: RedPajamaCommonCrawl


I understand it, enough already! The content of the first half of the book could have been done in twenty pages, and I'm not convinced there's much in there that isn't already in Wikipedia. The authors admit to having committed hype in their past, and their hyping of SOA is still more obvious in the book then they would have liked. Their inclusion of a "Savvy Manager" paragraph to point out problems with SOA is a conscious attempt to redress this bias, but it doesn't go very far.
Ironically, the most concretely useful stuff in the book comes in what should be the fluffiest — not Part 1, which is supposed to be the technology of SOA but is repetitive hype, but Part 2, which is the business use case study. Not that it couldn't have been done in 20 pages as well, but the contextualisation in a case study and the specific guidelines are welcome. Ch. 13 for example goes through the lumping together of services into a service map, by domain (services associated with a major functional area of the business), and by actor (which processes will the same actor be invoking — group all of these together in a portal, rather than implementing the separate applications as standalones). Identifying recurring services turns out as expected to be a compelling argument for cutting costs.
To my surprise, there is even a technical point nestled within the business case study: Ch 15.2 — programming with SOA means you have to concentrate ahead of time on reusability (which is the point of the modularity). (This is natch antithetical to Agile programming, where you don't introduce features you don't immediately need — like reusability.) This even leads to a revision of the software requirements process: after drafting the software reqs, brainstorm alternative use cases with stakeholders, and spec a web service that will cover these alternatives as well; *then* proceed to develop. ("Developing web services takes longer than developing traditional software. There is simply no way around that.") So to make the service reusable, you incorporate potential uses from stakeholders along with the concrete requirements you already know of from your client.
This is a book for management rather than techos, and it shows. (I miscalculated in the purchase, because the books I was familiar with from Manning's Ottoman Costume series were programming manuals.) Half the book is taken up with the case study narrative, and the beginning half gets very repetitive in going through scenarios hey-presto resolved through SOAs, with virtually no specifics of how it all happens. The book is antithetical to _Mastering your Organisation's Processes_: that book also does case studies, is addressed to management, and evangelises for a solution to business process problems — but it is hard-hatted, with lots of specifics and concrete guidelines, and real scepticism where appropriate. This book does a little of that in the second half, but still not quite enough to measure up to the other.
In all, services oriented architecture is not that revolutionary an approach — just modularity writ large, with open-standards SOAP glue rather than proprietary Enterprise Application Integration. I can still envision the specific standards being advocated — the HTTP protocol, the SOAP, the monitoring of services through SOAP interceptors — being a transitory matter rather than the thousand-year enterprise solution the book stumbles over itself for. The benefit of service oriented *approaches* to systems design lies only in their emphasis on services as modules, and the protocols for them to interact; what these modules look like, and even whether they remain truly modular, or glued over the web, is incidental. Or at least, contingent. In that regard, e-Frameworks has chosen its emphasis prudently.
The book does have one cautionary note it sounds enough: security concerns make everything more difficult, and SOA is not at a stage yet where that will take care of itself.
The performance hit of packing and unpacking XML is also non-negligible, and something I've seen first hand with my attempt to insist on the X(ml) of AJAX in my interface to the Thesaurus Linguae Graecae lemmatiser. (XML decoding brings Safari to its knees for a big or complex enough chunk of XML; writ large the same can happen in an enterprise, and Robby Robson's scenario of a new identifier minted per microsecond is not going to fly with real-time SOAP.) A web service can be all things to all comers with a transparent WSDL; but there needs to be a business case to be made that it should be, since there are penalties for opening things up like that: not just performance, but accountability as a maintainer — managing an Open Source toolkit is no sinecure.
And since I'm not immune to style — a thousand times the Very British, martini-dry humour of _Mastering your Organisation's Processes_, over the Dorothy Dixers in the starting paragraphs of each chapter here.


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Brice Achkir from the Cisco Systems, Inc., San Jose, CA was named Fellow of the Institute of Electrical and Electronics Engineers (IEEE) in 2014 for contributions to diagnostics of physical layer design in gigabit digital transmission systems.

References

Living people
Fellow Members of the IEEE
Year of birth missing (living people)
Place of birth missing (living people)
American electrical engineers


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Free Forum Q&A : JANE McGONIGAL, REALITY IS BROKEN – How Gamers Can Change the World
In her There are 183 million active video gamers in the US, and the average young person will spend 10,000 hours gaming by the age of 21. There are now more than five million "extreme" gamers" in the US who play an average of 45 hours a week.
According to game designer JANE McGONIGAL, this is because videogames are increasingly fulfilling genuine human needs. But she goes way beyond that, in her first book, REALITY IS BROKEN– just out in paperback – she suggests we can use the lessons of game design to fix what is wrong with the real world.
Drawing on positive psychology, cognitive science, and sociology, she shows how game designers have hit on core truths about what makes us happy so that videogames consistently provide the exhilarating rewards, stimulating challenges, and epic victories that are so often lacking in the real world.
I recommend REALITY IS BROKEN to people who have no interest in games. Separate from what it says about the current reality and possible future of games, the book is an excellent primer on what we have learned – and most people don't know – about happiness, learning, productivity and growth.
www.janemcgonigal.com
Q&A: MICHAEL LIND, Co-founder of the New America Foundation; Author of LAND OF PROMISE: An Economic History of the United States
Written on March 17th, 2013
This week's guest, MICHAEL LIND, has written an economic history of the United States. In his new book, LAND OF PROMISE, he lays out a pattern in which the US has reinvented itself economically and politically a number of times based on the emergence of new technologies. From wind and water, to steam, to electricity and internal combustion, and finally the computer.
Each new dominant technology overwhelms the existing political and regulatory system and American government lags a generation or two behind technology-induced economic change. It takes a crisis or a war or both to overthrow the old regime and usher in the new.
When the U.S. economy has flourished, Lind argues, government, business, labor and universities have worked together as partners in a project of economic nation building. Today, as the United States struggles to emerge from the Great Recession, Land of Promise says that Americans, since the earliest days of the republic, have repeatedly reinvented the American economy-and have the power to do so again.


Here are two new illustrations created by Giordano Poloni for the Big White Ski Resort located in Kelowna, in British Columba, Canada. The illustrations have been published in the inflight magazine of WestJet Airlines.
Giordano Poloni created this illustration for the Commercial Observer magazine for their February issue. An article that looks at the operation of some questionable financial practices.
Giordano Poloni illustrated the cities of Lisbon and New York for the last 2 issues of IDEAT magazine.
Giordano Poloni has just illustrated Tokyo, le guide idéal by Jérôme Schmidt, published by Les Arènes.


Alfa Vitamins Stress Formula is marketed as a multivitamin and mineral blend aimed at relieving stress and helping patients achieve a stress-free life experience. Unfortunately, the formula designed and manufactured by Alfa Vitamins is not detailed in terms of specific benefits. Due to a lack of information on the formula on the manufacturer's website, you may need to research the formula's ingredients in order to achieve a comprehensive understanding of how it works to deliver the main advertised benefit.
Alfa Vitamins Laboratories, an American company located in Florida, dates back to 1994 when it first started out as a manufacturer of nutritional supplements. The company's domain of activity has not changed, but rather improved as the product ranges widened to comprise today categories such as: liquid supplements, fitness supplements, multivitamins, weight control formulas, skin control products, and herbal formulations. The company's retail network comprises more than 1600 distributors in 51 countries. The company takes pride in its rigorous quality control processes and operates under the strict guidelines established by FDA, the Department of Agriculture, and the USP.
Alfa Vitamins Stress Formula is a safe alternative to other stress relieving formulations, with potential benefits that go beyond its stress-relieving properties. The formula is designed for adult use only.
Alfa Vitamins Stress Formula contains the following ingredients: Vitamin C (as Ascorbic Acid), Vitamin E (as DL Acetate), Vitamin B1 (as Thiamin), Vitamin B2 (as Riboflavin), Vitamin B3 (as Niacinamide), Vitamin B6 (as Pyridoxine HCL), Vitamin B5 (as Calcium Pantothenate), Folic Acid, Vitamin B12 (as Cyanocobalamin), Biotin, Zinc (as Zinc Oxide), Copper (as Copper Oxide), Gelatin from capsule, white rice flour, and Magnesium Stearate.
Alfa Vitamins Stress Formula is a blend of vitamins and minerals.
The formula contains all eight nutrients included in The B complex. The B vitamins play a large number of roles to ensure the normal functioning of the body. Vitamin B6 for instance is an extremely important ingredient in the synthesis of certain neurotransmitters including Serotonin and Norepinephrine which regulate a number of functions including some related to mood and behavior. It is this way that B6 ensures a normal stress response, a healthy appetite, or accurate sleep-wake cycles.
Vitamin B1 acts in a similar way to relieve stress and feelings of depression, as one particular study seems to indicate. Vitamin B12 supplementation has been shown to reduce feelings associated to stress such as fatigue and poor memory, although a clear connection is yet to be established.
Minerals such as Zinc, Copper, and Magnesium are extremely important to the human health. Zinc for instance helps fight oxidative stress, meaning it counteracts the effect of free radicals that may lead to serious conditions affecting the heart, the brain and other vital functions.
The recommended daily dosage is 1 capsule per day. Unfortunately, there are no consumer reviews that we could access online hence a confirmation of the presumed benefits is not possible. No precautions or drug interactions are issued either, however we do recommend caution, as with any dietary supplement.
Alfa Vitamins Stress Formula is marketed as a solution to fight low levels of occasional stress. In no way is this product to be used as a main treatment alternative, but rather as a support and enhancer of other stress relieving products. The formula contains vitamins and minerals in concentrations that, in some cases, far exceed the daily recommended dose. For instance each serving delivers 1000% from the daily recommended dose of Thiamine (Vitamin B1). This is why we strongly recommend that you see a healthcare professional about any symptoms that might be associated to stress, in order to establish the correct treatment plan.
Alfa Vitamins Stress Formula or HCF?


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Назъбеноосеченият шестстотиноклетъчник е еднообразен изпъкнал многоклетъчник. Броят клетки е 2640. Той има 120 ромбикосидодекаедъра, 720 петоъгълни призми, 1200 шестоъгълни призми и 600 осечени тетраедъра. Той има 7200 върха, 18000 ръба и 13440 стени (2400 триъгълника, 7200 квадрата, 1440 петоъгълника и 2400 шестоъгълника. Връхната фигура е трапецоидна пирамида.

Многоклетъчници


What Makes Getting Married in Las Vegas So Exciting?
It's having the variety of wedding services available for your one stop shopping. Making your wedding easy, enjoyable, fun and memorable.
Wee Kirk offers a complete range of everything related to Las Vegas weddings and wedding services. And our Wedding Consultants are dedicated to making your wedding, the day you have always dreamed it could be.
Whether you are planning a simple ceremony or flight to the Grand Canyon – we are your Las Vegas wedding services connection. After all, we have been doing this for over 70 years, so we must be doing something right. And, if you want a reception, off-site photography, Bachelor or Bachelorette parties, we can do that to.
Wee Kirk offers all the wedding services you'll need to make your Vas wedding a great experience. The only thing you do need to bring is a photo ID to obtain a marriage license at the nearby marriage bureau.
Wee Kirk is in the business of making the impossible – possible, and weddings run the entire spectrum between traditional vows and exhilarating celebrations. Las Vegas is also a spontaneous, exciting place. So if your request is last minute, we can also provide all the wedding services for you to have that perfect day.
If you have a question about anything wedding services related or Las Vegas related – we have the answers, just ask. We are available via email, phone, or schedule an in-person appointment to discuss your Las Vegas wedding and any of the wedding services we can provide to you.


There are business opportunities that are surely better than others, such as their size. Foreign Exchange is the biggest currency trading market in the world.
You should remember to never trade based on emotion.
Don't pick a position when it comes to foreign exchange trading based on what other people are doing. Forex traders are not computers, but only talk about good things, not bad. Even though someone may seem to have many successful trades, they still can make poor decisions. Stick with your own trading plan and strategy you have developed.
Traders who want to reduce their exposure make use of equity stop order to limit losses. This will halt trading when an acquisition has gone down a fixed percentage of the initial total.
Make sure you adequately research your broker before you sign with their firm.
You need to keep a cool head when you are trading with Foreign Exchange, you could end up not thinking rationally and lose a lot of money.
Don't think that you're trading on foreign exchange. The forex market is a vastly complicated place that the gurus have honed their skills over several years. The odds of you blundering into an untried but successful strategy are few and far between. Do your homework and stick to what works.
It isn't necessary to purchase automated software in order to practice foreign exchange. You can go to the central foreign exchange site and look for an account there.
Placing successful stop losses in the Forex market is more of an art. A good trader knows that there should be a balance instincts with knowledge. It will take a bit of patience to go about this.
These suggestions are directly from people who have been successful with trading on the foreign exchange market. While there is no specific guarantee you will attain great success by trading on this market, you can learn some tips to apply to your own personal strategy. If you follow these guidelines, you will be more likely to make successful and profitable trades on the foreign exchange market.


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Find Renaissance Fancy Dress Halloween shopping results from Amazon & compare prices with other Halloween online stores: Ebay, Walmart, Target, Sears, Asos, Spitit Halloween, Costume Express, Costume Craze, Party City, Oriental Trading, Yandy, Halloween Express, Smiffys, Costume Discounters, BuyCostumes, Costume Kingdom, and other stores.
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It was the post-World War II era of Happy Days. It saw the birth of Boise Junior College which would grow into our present day BSU. It was a time when Boise was the epicenter of our Treasure Valley, before families pressed out into what would become our current day "bedroom communities." It was a time that saw the growth of major homegrown businesses such as Albertsons, Morrison-Knudsen, and Simplot. It was a time when banks were local and the population was measured in tens of thousands rather than hundreds of thousands. This collection is a small sample of the wealth of images available from this era, which also witnessed the birth of popular photography (Instamatics and Polaroids!). For many these represent the stuff of important early memories. For many they provide a glimpse backward at their parents' and grandparents' history. For all of us they are a reminder that while much has changed….much remains as it always has been in our State Capitol.


A month before, I happened to visit Grasshopper – A European restaurant through an invitation from a venture to experience the food and service offered by them. The Grasshopper is located amidst a farm, off Bannerghatta Road. The property is huge and beautiful, one must definitely visit.
What kind of food do they serve? As I mentioned earlier, they are into fusion European cuisine. Also, they do prepare food according to guest's preference. Believe me, they serve delicious and exotic food which brings in million dollar smile.
My Experience! Being a Zomato user and strong follower, I wasn't even known this decade old romantic restaurant until it was listed. Also, I have been seeing Grasshopper in specific category and it was in my bucket list since then. Last month, I happened to visit here along with my friend for dinner on invite from the venture. A day prior, the humble restaurateur Mrs. Sonali called and took my preferences for the food preparation. When we visited, the watchman directed us to park the vehicle and to the dining area. The place was calm with 4 to 5 dining tables with lily's and some exotic flowers along with candle lights and ceiling paper molded amber light. As we seated, Manager walked in to our table and started explaining about the concept of Grasshopper. They will not allow direct walk-ins. Hence, prior reservation is mandate to dine at Grasshopper.
The meal will be 7 course including appetizer, main course and Ice Cream/Dessert which will cost approx. 6000 per couple which might be bomb at first instance. But believe me, it's worth every penny! More than a food, it's an experience when you will be at Grasshopper with your loved one. It's an apt place to propose a gal and celebrate a special occasion with loved ones.
A glass of lime juice arrived at our table as we relaxed, it was refreshing and much needed after a long journey to Grasshopper. Well, they have good options for vegetarians too. I totally enjoyed the food served there.
What dishes on 7 Course Meal? As I said earlier, they will cook the European dishes according to individual palate and taste. That's why this place is so popular! I have heard that the quantity of the food is not sufficient at Grasshopper. I would say, it does completely contradict statement. The dishes over here are quite filling and difficult for a normal eater like me.
Asparagus with crispy sage and parmesan – Will there anyone who don't like asparagus? Certainly not in my circle. Asparagus were sautéed perfectly and topped with fried sage and garnished with parmesan cheese. The presentation was excellent and combination is fabulous. Believe me, I crave for this dish even now.
Crostini with Smoked aubergine, caramelized onion and parsley pesto – I have had the crostini's from different places in Bangalore and other cities. Not sure, whether the authentic crostini will be hard or soft. I always love the soft ones. Here it was soft and aromatic! The crostini was topped with pesto and caramelized onions. This taste just bursts those mild flavors!
Balsamic beets with feta and sesame – Baby Beetroots were sautéed and tossed in balsamic vinegar and garnished with feta cheese and sesame seeds. The dish is soft, slightly tangy and succulent.
Orange salad with black olives and toasted walnuts – Though I am not a great fan of Salads, this one wasn't disappointed me!
Buttery mushrooms with herbed rice – The dish certainly looks simple with the presentation. However, it is fabulous with respect to taste. The plate made with herbed rice, sautéed broccoli, buttery mushrooms and fried potatoes. Could have served more herbed rice.
Zucchini with minted pea puree – This is a showstopper! As soon as it arrived on the table, we were flattered with the presentation of vertical sliced sautéed zucchini on the peas puree. The dish was seasoned perfectly! I enjoyed every bite of it.
Lemon grass ice cream – In House Ice-cream is definitely must try! They have 4 options and patrons can choose accordingly.
Along with these, we also tried other 3 Desserts.
These 3 desserts also made in house and the quality and taste are top notch, which cannot be compared with others. The service is deliberately slow. Since this place is to spend some valuable time along with the food. It's not worth going if you are in hurry. It will take minimum 3 hours and 30 minutes to finish this 7 Course Meal.
About the Owners & Place: Sonali Sattar and Himanshu Dimri moved to Bangalore in 1993 after graduating from the National Institute of Fashion Technology, New Delhi. A year later they tossed their clothing label, Hidden Harmony. Their minimal, timeless designs can be found at a few boutiques in India and the UK.
In 2002 they opened Grasshopper, a space that combines design and food, in a building created for the purpose on their farm in the fringes of Bangalore. They live on the farm with their twin daughters and five dogs.
Overall, it's a high end romantic place with subjective food. This place certainly cannot be compared with any other restaurants in Bangalore. Unique would be the apt word for this Grasshopper.