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Tag: film
Test Fest Adelaide
Friday the 11th the Victoria Theatre transformed into a pop-up cinema for Adelaide's new film festival, Test-Fest. 2019 is the first year of this festival which allows filmmakers to come and receive feedback on their works-in-progress.
The Victoria Theatre is a mixture between a haunted Gothic setting and a dystopian hideout. Cold concrete floors were decorated with small tables and chairs, with wooden bleachers and wooden seats off to the side. Roof scaffolding lay open to the elements. Dim lights hanging from a single cord.
Free food. Music. A pop up bar. Film. All the ingredients for a good night.
People milled about, drinking, talking, watching. Children ran around the open space, flopping down on beanbags becoming distracted by short films playing on two large flat screen televisions in the corner of the theatre.
All of these shorts have been entered in film festivals and showcase the talent Australia has on offer. Test-Fest provided the opportunity for the average Adelaidean to see what's been created over the past couple of years. Everything from animation about a nine-year-old girl who enters the world of sumo wrestling, a claymation adaptation of Frankenstein, and an examination of lost love with the recurring motif of rock, paper, scissors.
Sitting in a beanbag as gracefully as one can sit on a beanbag, I watched Australian short after short, marvelling at the sheer talent and creativity we have. Now I can say I have officially cried in three movies: The Boy in the Striped Pyjamas, Les Miserables and The Sandpit, by Matt Pearson, a seven-minute film about a girl finding rocks in a sandpit.
On the main screen films which are still being workshopped were played. They were broken up by twenty- minute intervals to allow the audience the opportunity to give feedback through a short answer survey. Volunteers in high-vis vests walked around handing out clipboards and pens. As someone who is well versed in literary metaphors and techniques, visual and filmic techniques are a challenge for me to wrap my head around. Although this didn't matter when getting feedback. Directors guided their viewers with the questions surrounding what they were most concerned about asking about everything from 'was the music distracting' to 'what do you think about my main character?'
It was like an extended focus group, a chance for attendees to voice their views and for filmmakers to test their work. A safe space to show friends and family what they have been working on.
Test-Fest gave burgeoning filmmakers a chance to hear from their audiences, with the aim of "demystifying the filmmaking process" before the final product is revealed. It's peering back to the curtain and having a peek into the inner workings of an artist's mind, seeing the role of the director and their filmmaking process, to witness the work that goes into the creation of film.
The suburban Gothic film, Carrie is Great by Bryce Kraehenbuehl, Alex Salkicevic and Lauren Koopowitz and the Cormac McCarthy-esque, and On The Road to Old Man's Town by Andrew Ilicic are definitely some new Australian projects that are worth keeping an eye out for.
Attending Test-Fest opened my eyes to the amount of local, South Australian talent there is, and allowed attendees to have an opportunity to give opinions and gain an insight into the often confusing and mystifying filmmaking process. It was definitely a night to remember and a showcase of our best talent.
For more information on Test Fest and to keep up with any future events check out their website or follow them via Facebook.
Review by Georgina Banfield
Header image: Test Fest Adelaide
Author tulpamagazinePosted on November 7, 2019 November 6, 2019 Categories Exhibition, Film review, ReviewTags adelaide, Australia, Carrie is Great, Cinema, film, Film festival, Indie film, Local, Local Arts, On The Road to Old Man's Town, south australia, Test FestLeave a comment on Test Fest Adelaide
Kingdom of Heaven (Director's Cut) (2005)
Ridley Scott's Kingdom of Heaven is set in the twelfth century and follows the story of Balian (played by Orlando Bloom), loosely based on Balian of Ibelin, a crusader nobleman who lived from approximately 1143 to 1193 CE.
In the film, Balian leaves his job as a blacksmith in France in 1184 CE and goes to help the Kingdom of Jerusalem (a crusader state created in 1099 CE after the First Crusade) defend itself against Saladin, the Ayyubid Muslim Sultan.
If you haven't seen the film before, you may think that it beats you around the head with religion, but it doesn't. There are other elements of it that make it interesting and compelling. These include family, friendship, and politics. I think Kingdom of Heaven has a strong Game of Thrones vibe to it.
The film premiered in May 2005 and was met with mixed reviews. But director Ridley Scott disliked the theatrical cut. Before the film's release, studio executives ordered him to cut the film down by forty-five minutes, which inevitably streamlined its narrative and placed a spotlight on Balian. Neither of these were what Scott had intended.
A few months after theatrical version was released, a director's cut of Kingdom of Heaven was released. There's more of a focus on all the characters, not just Balian. The narrative is also more complex and has deeper meanings to it, like the bond between a mother's love for her children, as displayed by Princess Sibylla's (Eva Green) love for her son.
Many people agree that the director's cut is far better than the original theatrical version. Reviewer James Berardinelli even says that "there's no reason for anyone to watch the […] theatrical edition" since the director's cut has been made available. I agree with Berardinelli. The director's cut should be version of Kingdom of Heaven that people watch.
Like all films, the director's cut of Kingdom of Heaven isn't perfect. Despite having more depth and scope than the theatrical version, it can be slow at times.
The cinematography and the film's overall production design is spectacular. Kingdom of Heaven was filmed entirely on location in Morroco and Spain. The landscapes that feature in the film mirror that of France and Jerusalem (the primary settings of the film) and seem to not have aged at all since the twelfth century. The props and costumes appear authentic, almost as if they were plucked right from the twelfth century. All this completes the 'feel' of the film.
Despite this, Kingdom of Heaven's flaws hold it down. I want to like it, but it didn't quite hit the mark in the end. But the director's cut is still superior to the theatrical version.
I give Kingdom of Heaven three out of five.
Balian of Ibelin – A Biography, <https://www.youtube.com/watch?v=7CnJDfdLayA>.
Kingdom of Jerusalem, <https://historica.fandom.com/wiki/Kingdom_of_Jerusalem>.
Kingdom of Heaven (Director's Cut) (United States/United Kingdom/Spain/Germany, 2005), <http://www.reelviews.net/reelviews/kingdom-of-heaven-director-s-cut>.
Author tulpamagazinePosted on September 12, 2019 Categories Film review, ReviewTags Ayyubid dynasty, Ayyubid Muslim Sultan, Balian of Ibelin, Cinematography, Crusade, Crusader, Director's Cut, Eva Green, feature, film, Film review, First Crusade, France, Game of Thrones, Kingdom, Kingdom of Heaven, Kingdom of Jerusalem, Morroco, Muslim, Orlando Bloom, Princess Sibylla, religion, Review, Ridley Scott, Saladin, Spain, SultanLeave a comment on Kingdom of Heaven (Director's Cut) (2005)
Worldline Corporations
I take a seat at Worldline Corporations in Bas3ment Studios at City Cross. I am advised that I will be tested for my eligibility to work with the time travelling firm. I am assigned an era, a job, and told what to expect.
In contrast to other Fringe shows I have been to this year, Worldline Corporations is the strangest one yet. It takes you on a time travelling journey but is completely digital. There is no one performing here, it's all what you see on the screen.
This show delves into your subconsciousness and fears, focusing on loss of reality and fear of the unknown. Conveyed words onscreen, the simulation causes you to question your choice in travelling through time.
I discovered at the end of the show that this was all part of the experience. I don't wish to spoil the show, but the finale is definitely a conversation starter. I will say that, if I wanted to, I qualify to join Worldline Corporations.
The aesthetics of this show had a very eighties look and feel to them. Everything from the computer on screen to the voices used had me seeing this performance as being inspired by eighties computer tech and time travel. Even though it appeared dated by today's standards, I really enjoyed this as it complemented the story and gave it a unique style.
The show runs for about 20 minutes, the shortest show I've seen this year. Sometimes length isn't the most important factor in a show but this one is well worth the experience.
Worldwide Corporations was an enjoyable and thought-provoking experience. I found its storytelling methods futuristic and innovative, all the while striking at my subconscious mind. While their run has finished, this is a unique and well-designed experience. Check out their website below for information about future shows.
https://www.worldlinecorp.com/
Four Stars.
Author tulpamagazinePosted on February 25, 2019 Categories Adelaide Fringe, ReviewTags 1980s, 80s, Adelaide Fringe, Amy McNickle, Bas3ment Studios, Digital, Digital narrative, Eighties, Exhibition, Festival, film, Fringe, Fringe 2019, Innovative, interactive, Mad March, performance, Sci-fi, Show, speculative, storytelling, tech, Technology, Time Travel, Wordline CorporationsLeave a comment on Worldline Corporations
Love/Hate Actually
Over the past week Tandanya Theatre, a mere two-minute walk from our beloved Garden of Unearthly Delights, has been host to some engaging pieces of Fringe pie. One of these pieces is Love/Hate Actually: a unique mix of theatre and comedy written and performed by Amy Currie and Natalie Bochenski. The crux of it? Simply, a discussion about whether we love or hate one of the most iconic films of our time, Love Actually. This is not a complex performance proposal, nor was it performed on an extragenetic set; however, it is a genius idea.
The subject matter alone welcomes a wide demographic. Alongside regular Fringe supporters, citizens of Adelaide who may not be avid theatre goers will find Love/Hate Actually a welcoming way into the venues and excitement of the Adelaide Fringe. As Love Actually is such an anchor in our film and specifically rom-com culture, there are very few people that this show will exclude: whether you like the film or not, you will find this night to be a hoot.
Our enthusiastic performers use a slide show with pictures, charts and videos to break down Love Actually for us. The minimalist set, with just a Santa hat or two on stage if anything ,enabled our performers as the witty, charming and highly relevant humour was enough to fill the space alongside their physical and bold deliveries. Amy and Natalie are intensely invested in their performances, undoubtedly committed and offer an infectious energy. Keeping us on our toes, the show consisted of a range of entertaining skits. There were quirky characters, cheeky send ups and Amy decked out as a Love Actually religious icon – rather clever as this film for many has come to define Christmas, in some ways replacing the original nativity story. From the audiences' perspective, their performances make it very easy for us to drop our critical guards and be taken along on this highly enjoyable ride. There was genuine laughter from the audience all the way through the hour-long performance, which I believe says it all.
This was, at points, an interactive piece of theatre. Now, don't go getting anxious. The idea of audience participation often makes us edgy as many attempts to involve us are awkward and uncomfortable. I have to say that Amy and Natalie's facilitation of audience participation was highly successful, and extremely funny. We were asked to distinguish between Art and Porn and to undertake a fast-paced recap of appropriate office etiquette, yet this was all supported and well-written. Amy and Natalie appeared to have extensive experience behind them and a fantastic onstage and off-stage relationship, making their request for audience involvement all the more non-threatening.
This show will make both cynics and lovers of everyone, and its conclusion (with a sneaky musical number) will leave you feeling rather jolly. I encourage anyone and everyone who is seeking a hearty and warming chuckle to nab some tickets over the next three nights. There is a lot to love about this show, and really nothing to hate.
Hats off to Amy and Natalie for putting together such an engaging and passion filled piece of work! They throw their hearts into it, so go willing to throw yours (literally).
Words by Michelle Wakim
Love/Hate Actually is playing at Tandanya February 22-24. Tickets available here.
Author tulpamagazinePosted on February 22, 2019 February 22, 2019 Categories Adelaide Fringe, ReviewTags Adelaide Fringe, Debate, film, Fringe 2019, Fringe Comedy, Fringe Theatre, Love Actually, Richard Curtis, Tandanya TheatreLeave a comment on Love/Hate Actually
Bohemian Rhapsody is first and foremost a film about art. Themes of race, sexuality, and marginalisation are threaded throughout, but they do not define this flick. Instead, this film encourages us to revel in the brilliance of Queen and the everlasting impact of their music; in doing so, we also realise the spectacular nature of the one and only Freddie Mercury. This bio-pic begins at Queen's conception, and carries us to their climax: Live Aid at Wembley Stadium, 1985.
The exploration of Queen's timeline is fantastic, eccentric, and meaningful in this 2-hour masterpiece: the closeness within the band, and their shared love of music, was held at the centre, making it known that some of the greatest music in recent history was born from true passion. Mercury's extraordinary character was captured in its entirety as Rami Malek gives a performance to end all performances – Freddie, teeth and all, was seen in every quiver while singing, and in every expression of tender emotion. If you are familiar with the entire Queen clan, performances from Gwilym Lee, Ben Hardy and Joseph Mazzello as Brian May, Roger Taylor and John Deacon, respectively, are equally as accurate. Even to one who is unfamiliar, all four performers deliver embodiments that are endearing and highly entertaining.
The narrative arc works through the creation of Queen's iconic tunes, as each hit uncovers unique meanings and diverse impacts on audiences. The jaw-dropping performances from the cast, alongside marvellous cinematography, combined with an epic recreation of the on-screen set, takes audience members to another time and place, allowing us to forget that we are simply sitting in a little cinema in Adelaide. After each song was performed, I had to actively stop myself from cheering in the cinema.
I think one of the most remarkable aspects of this film is that it was curated with significant input from two of Mercury's closest friends – two of the remaining members of Queen – Brian May and Roger Taylor. May and Taylor embarked on this project in order to conserve Mercury's privacy and honour his memory in a way that would have pleased the lead singer. As you will see, Mercury wanted nothing more than to produce masterpiece after masterpiece with those dearest to him, and to leave a legacy which encompassed his identity as a performer and an artist. May and Taylor ensured this film celebrates Mercury. Bohemian Rhapsody does not expose more of Mercury's dirty laundry, but gives context to the scandals and drama that the world has already got its hands on. Our satisfaction with this level of privacy did not seem to be a point of consideration during production: an approach that should be applauded, or at the very least, respected. In this day and age there appears to be a general understanding that we are entitled to every detail, humiliation and love affair in the lives of celebrities, as if we own them. This sense of entitlement has been encouraged by information leaks and the fact that 'drama' sells. But in truth, folks, we are not this way entitled. Bohemian Rhapsody shows us this, puts us in our place, and asks us to admire the talent and wonder in the work that Queen sent our way, not froth over the issues that they prefer to keep to themselves.
The final thing I have to say about this film is that if you don't enjoy it, you will at least respect it. It tells the story of a band of outcasts who produced work of such excellence they left behind a legacy far bigger than themselves. Bohemian Rhapsody focuses of an individual who broke conventions on a scale that we may never see again. For generations Queen's music has been adored and is still sprinkled throughout our culture today, 30 years on: every time someone sings "We are the champions" after their team wins a game in primary school, every "Bohemian Rhapsody" sing along at parties, every reference to "Another one bites the dust" when talking about CPR. Without Queen, art and our general experiences would be increasingly different today.
Bottom line, go see this Queen sized extravaganza.
Words by Michelle Wakim.
Author tulpamagazinePosted on December 14, 2018 December 14, 2018 Categories Film review, ReviewTags Biopic, Bohemian Rhapsody, film, Freddie Mercury, Music, Queen1 Comment on Bohemian Rhapsody
Greg Berlanti's film Love, Simon is a heart-warming, coming-of-age tale that teaches us three important lessons: self-acceptance, general acceptance and that when you talk to someone nice online, they aren't always a Catfish.
In all seriousness, this film – particularly in our post-Plebiscite Australia which left many people in the LGBT community feeling alienated – is a necessary, affirmative antidote. The plot follows Simon Spier (Nick Robinson), a closeted gay teenager who, after seeing an anonymous coming-out post on his high school's gossip page, impulsively begins an e-mail correspondence with the writer who goes by "Blue". However, their growing friendship (and Simon's secret) are soon threatened after he leaves his e-mail open on a public computer and finds himself being blackmailed by fellow drama student Martin (Logan Miller) who wants to date his friend Abby (Alexandra Shipp). What follows are a set of hilarious, awkward and tense events as Simon struggles to keep his secret and act like Cupid with his friend's love lives, all the while attempting to discover who Blue is.
The film (and for the record, the book) avoids the melodramatic tropes that are usually expected from the young adult genre. The anxieties of coming out, even while being sure that you'll be accepted by your friends and family, are addressed alongside the strong message that only the person coming out has the right to determine when and how they do it. To allay your unspoken fears: no, this film does not go the pot-holed John Green route and suddenly have a character die with an unlit cigarette in their mouth – it has some heart-breaking moments but ultimately keeps a tone of warmth. No character is necessarily a "side" character – each possesses their own quiet complexities. His best friends Leah (portrayed by 13 Reasons Why's Katherine Langford), Nick (Jorge Lendeborg Jr.) and Abby are very likeable and we find ourselves wanting a deeper glimpse into their lives and thoughts. Even Martin has a heart of gold and genuine adoration for Simon and his friends (if there was such a thing as wholesome blackmailing, he has found it). I must also mention Natasha Rothwell's performance as the drama teacher Ms. Albright who is guaranteed to make you howl with laughter.
What separates it also establishes this film as a future classic is the underlying mystery: who the hell is Blue? You will be spending the entire film as Simon does: seeing a potential Blue in any male who interacts with him. It is hilariously akin to how we fantasise about crushes; usually over the most minimal interaction possible. This worker at the café smiled at me while handing me my change – so I guess he's the love of my life then. We naturally become so invested in this mystery that every time Simon finds out a guy isn't Blue, we feel the same spear of disappointment being thrust through our hearts. I know what you really want: to know if there is a great pay-off to this mystery? To which I will reply, rather pettily, that if I had to suffer with not knowing then so do you.
There are people who will disregard this as a "gay movie" but this is a film which anyone can relate to. The universal messages of self-acceptance, friendship and awareness that people are struggling with things you don't know about are always relevant – and necessary. And even though this film does centre upon a young man accepting his sexuality; this is ultimately a film about friendship and love. It is an important film that a lot of young people will take comfort in who find themselves relating to Simon's situation.
If a film can make an ice-hearted cynic like myself write such syrupy tripe like "friendship and love" – well then you best be sure it is a damn good movie.
Well at the very least: Tolerance,
Words by Jordan Early.
Author tulpamagazinePosted on April 17, 2018 May 3, 2018 Categories Film review, ReviewTags Anxiety, Coming-of-age, film, Greg Berlanti, High school, LGBTQIA+, Love Simon, Nick Robinson, PlebisciteLeave a comment on Love, Simon
Our Giddy Aunts: Queer Readings of Mentors in Children's Fantasy Fiction
With the recent revelation that Dumbledore, our favourite gay wizard, won't be all that gay in the next Fantastic Beasts movie, I think it's fair to say that the tide has finally turned; J. K. Rowling's table-scrap representation is no longer enough. Readers are no longer satisfied with post publication declarations that an unaddressed, unimportant character might have been Jewish or something. This is not effective or accurate representation.
The thing we should keep in mind, however, is that J. K. Rowling wasn't brave or unique in codifying Dumbledore's queerness. She was just tapping into an unconscious trope that has been in children's fantasy fiction since the very beginning.
Explicit queerness in children's fiction is relatively new. The conscious and unconscious link of homosexuality and sex is an old and tough link to break, and is even tougher to get past a gatekeeping adult public. Children are not in charge of what gets published; adults are. It is these gatekeepers that are as capable as being whipped into a panic – like the one that saw the demise of the Safe Schools program – that decide whether or not queer characters see any representation in children's fiction. Forgetting, of course, that children's fiction is all about characters just like the bullied queer kids of real life. Children's fiction is all about the 'other'.
Children's fantasy is filled with 'others', like Ged from Earthsea, Morrigan Crow from the Nevermoor series, or the inescapable example Harry Potter. Then there are those who might be completely of the 'normal', but find themselves feeling like 'others' because they're in an entirely new world, such as the queer icon Dorothy in Oz, the sons of Adam and daughters of Eve from The Chronicles of Narnia, and the Alice of Alice in Wonderland.
It's not uncommon for children to feel this way about themselves – approximately 1 in 4 children reported being bullied at school in 2009. This is particularly key for children who may be struggling with sexuality or gender, feeling different for a reason poorly explored in the fiction around them.
Even without bullying, growing up is difficult, and the process of changing from child into adult is a metamorphosis that overwhelms even the best of us. It is here that books become a key in figuring ourselves out through sympathy and empathy, relating our feelings of 'otherness' with those on the page.
These 'others' find themselves in places and situations that are impossible to the uninitiated. They require guidance and teaching to understand their otherness. In real life we have our parents to fulfil these roles. But it's usually the case in fiction that these characters that give guidance don't have the familial attachment of 'parent'. They are the tertiary adults, who fulfil the role of parent without the prejudice and judgement that entails.
Perhaps it's just that writers have bad relationships with their parents, but rarely – if ever – does the most important guidance required to see these characters through to the end of the narrative come from parents. It might be because the characters are orphans, or the parents are absent – both of these tropes are mainstays of the genre. Fiction for children lends itself well to wise older characters, because children's fiction is filled with outsiders needing guidance, yet it seems that when parents are present, children don't go on adventures.
Who does this leave? Teachers. Old women. Grandparents. Distant relatives. In many cultures, they all fall under the same word. It may have fallen out of fashion now, but that categorisation applies in English too – in short, we're talking about aunts and uncles, informal or otherwise.
What better word is there for the adults that assume the role of parent in the absence of parent? There are honorary aunts and uncles abound in the real world. Why not in imagined worlds?
The word 'aunt' or 'uncle' does not denote responsibility per se, but it does open the possibility of care. An aunt or an uncle is usually a temporary presence, but with opinions and power the same as any parent. In real life, as in fiction, an orphaned child might find themselves with an aunt or uncle.
The concept of gay aunts and uncles is not a particular new or interesting idea. It is a prevailing theory as to why homosexuality hasn't been bred out of any population. In fiction, their presence mirrors the real world. If queer people exist to support the lives of children, then more than a few of the children supported in fiction get a little help from their queer aunts and uncles.
Children's fiction is – for obvious reasons – devoid of sex. The only evidence that anyone has sex in the sanitised world of children's fiction is the children themselves. This is not to say that the world of children's fiction is devoid of sexuality – adults may be partnered, children may (and often do) have love interests, and male/female pairings are often implied by proximity.
If there's any more egregious display of enforced sexuality, it's in old fashioned children's fiction. It creates love interests by convenience and proximity by pairing the nearest boy (of similar age) to the nearest girl. It's not just something applied to the children in children's fiction, either, but adult framed love isn't integral to children's fiction. Indeed, love interests aren't key to children's fiction at all. Alice, for example, had no need for love interests.
However, in a world where characters have enforced romantic inclinations, what happens where there is an absence of romance? What happens when a character that could easily have a heterosexual partnering – and has a convenient and proximate heterosexual partner – has none? Why are perfectly loveable characters single?
This happens frequently in children's fiction because it's not necessary to explore adult feelings. But adults reading children's fiction can't help but wonder about the inner lives of characters. Who does Dumbledore love?
The absence of relationships is as questionable as the presence of them, because for a long time, representation of any queer characters – happy ones, anyway – was illegal.
The absence of relationships isn't the only evidence, of possible queerness. The circumstantial evidence is as varied as it is flimsy, but it's no less flimsy than a knowing glance between two Valkyries in 2017's Thor Ragnarok. Queer people have been forced to see representation where there's questionable evidence and word of God for decades. Who would have known that Mrs. Danvers was apparently a lesbian without this handy Wikipedia article?
Fiction is filled with flamboyant bachelor uncles, and interesting albeit reserved bachelorette aunts. Flamboyance and extravagance are stereotypes now, but in previous years they could be seen as cultural markers. Dumbledore was extravagant and weird. What is flamboyant if not a bird that catches fire? Diana Wynne Jones' Chrestomanci and Howl, though both textually heterosexual, were both flamboyant and extravagant in an era when the term metrosexual was uninvented. In the Nevermoor series from Jessica Townsend, we have the extravagant flouter of rules, Jupiter North. These are, of course, male stereotypes. The female stereotypes are little murkier.
The maiden aunt trope is one based in reality, and one that is replicated in many children's narratives. When healthcare for women started becoming a Thing, so was Incredibly Deadly War, leaving many women widowed or without husband. How many of these women were happy to do without we will never know, but their presence has endured in fiction, even outside of the realm of children's fiction. The Austen novels are nothing without their maiden aunts.
Of course, many of these women – in real life at least – lead unpartnered lives as wholesome heterosexuals. But there are innumerable queer women who would have found this arrangement invigorating, either because they preferred the same sex or preferred no partnership whatsoever. The maiden aunt could be seen as a miserable character, or they could just as easily be fulfilled and happy without a man.
Outsiders in their own worlds, they provide an anchor for 'others'. These flamboyant uncles or interesting aunts provide a glimpse into the future for characters that are otherwise incapable of imagining a future as an 'other'.
In real life, the adults we see as children are the adults we believe we can become. The most normal of which are usually our parents, and possibly our grandparents. If our families are large, we might see a deviation from the parental norm through our extended relatives – our aunts and uncle, our cousins and niblings, adults that don't need to exist in a nuclear family unit to be happy and healthy adults.
When J. K. Rowling revealed that Dumbledore was gay in 2007, there was a short silence and then burst of applause at Carnegie Hall. Applause for representation? Or an acknowledgement of something that has always been there?
Words by Mark Tripodi
Mark is a writer and comedian. He is a host on Radio Adelaide's Pride and Prejudice and The Range. He also hosts The Piecast.
Author tulpamagazinePosted on February 9, 2018 February 9, 2018 Categories OpinionTags books, Children's fiction, Chronicles of Narnia, Creative Writing, Diana Wynne Jones, Discussion, Dumbledore, Earthsea, Fiction, Fiction friday, film, gay, Harry Potter, Jessica Townsend, JK Rowling, LGBT, LGBTQIA+, Media, Nevermoor, Novel, Opinion, queer, Queer characters, Queer Representation, Representation, Society, Writing1 Comment on Our Giddy Aunts: Queer Readings of Mentors in Children's Fantasy Fiction
A Trip Down David Lynch's 'Mulholland Drive' (A New Year's Suggestion)
Awarded the position of 'Greatest film of the 21st Century' by a team of 177 critics, it is impossible to deny the worth of Mulholland Drive. Even someone as critical of director David Lynch's work as Roger Ebert acknowledged the great achievements of the film, stating his feeling that Lynch had been 'working toward' the film his entire career.
It follows Naomi Watts' Betty Elms as she dives deeper into the glamorous world of Hollywood. The life she leads has all the wonder and spectacle a bright-eyed aspiring actor could hope for as they start their career. Away from the sun-drenched land of dreams Betty finds Los Angeles to be, there are mysterious goings-on and dark and dodgy deals happening. When at last, these two worlds collide at Club Silencio, the result is devastating for Betty and her lover Rita.
At first promising a loving tribute to the golden age of Hollywood cinema, the creeping malevolence of certain aspects turns the film on its head. Even its name harkens back to Hollywood's halcyon years, mirroring the title of the famed Sunset Boulevard, a film of the era from which Mulholland Drive borrows, both being significant and famed street of Los Angeles. Another tentative connection exists between the two films as Sunset Boulevard features a minor character called Gordon Cole, whose name Lynch appropriates for a character he himself plays in his famed television series, Twin Peaks.
The stunning success of this riddle-like film was never a certainty, however, as the film was initially produced as a pilot for a television series planned by David Lynch. The television executives rejected it, and so the open-ended nature of the film, whilst a staple of Lynch's work, was not entirely planned. It also served to connect the film's content to the reality of Lynch's experiences as the power of creatives in Lynch's Hollywood is surrendered to the moneymen and executives.
To help people in solving the film's central quandary, or perhaps to further cloud the matter, Lynch released the film on home media with a series of ten clues. Whether anyone has truly solved the enigma is perhaps impossible. The film is woven through with Lynch's familiar dream logic and denies easy answers. It's surely fitting that a film set in the city sometimes called the city of dreams, and deals so much in fantasy, is this much of a conundrum. Only here, in this film, the dreams of the city are not all aspirations but also nightmares and horrors lurking around the corners.
Words by Liam McNally.
Author tulpamagazinePosted on January 29, 2018 May 3, 2018 Categories Film review, ReviewTags David Lynch, film, Hollywood, Mulholland Drive, Naomi Watts, New Year, New Year Suggestions, Twin PeaksLeave a comment on A Trip Down David Lynch's 'Mulholland Drive' (A New Year's Suggestion)
Ethical Media Consumption: Is it Just a Question of Conscience?
It is likely that you have come into contact with media content involving some of the following people: Rolf Harris, Kevin Spacey, Woody Allen, Johnny Depp, or Harvey Weinstein. Even if you haven't, you probably recognise their names. You might even realise why they're in that list; all of them have been embroiled in sexual harassment or abuse accusations. Some of them have even been convicted of it. Since the tidal wave of voices speaking out against Harvey Weinstein and his subsequent disavowal from sections of Hollywood, there has been groundswell of kickbacks and new allegations from all sections of the media industry. It's clear that the Hollywood machine is finally beginning to take a public stance against sexual harassment and abuse within the industry. There have been some questions about whether this is only due to the weight of the public eye, but it is an important step nonetheless.
Yet in the wake of these reveals of sexual harassment claims, where does that leave us? Can we still watch, buy, and engage with art and media featuring people who have been accused – or found guilty – of sexual harassment or abuse? Is it even morally right to do so? Criminal justice research indicates that the certainty of punishment following a criminal offence is what matters most when deterring crime. Following this train of logic, by allowing actors, comedians, or artists to be cast, headlined, or promoted after allegations come to light perpetuates a culture of no ramifications. This encourages the continued silence of victims because no consequences have been laid at the feet of the perpetrators. Allowing perpetrators of sexual harassment to appear in new works diminishes – even approves – of their crimes. If this is so, what can do we do about it? On a question of feasibility – forget about moral reasoning for a moment – it is easier to blacklist a solo producer of content. Louis CK and Rolf Harris, the nature of their crimes aside, can easily be avoided and their work shunned. But for actors and producers, more questions pop up.
A movie or a television show is ultimately a collaborative process – and one where not everyone involved has a say about who they must work with. Blacklisting works involving actors or producers who've been accused of assault consequently means sidelining the other actors on same project. Often, they happen to be emerging actors whose careers need the support of audiences the most and who can't afford to turn projects down. This is where we enter a moral quandary as audiences. Do we support the emerging actor, and by association also support the Weinstiens, Allens, Depps and Spaceys of Hollywood? Or do we shun the perpetrators of harassment and abuse and sideline the emerging actor at the same time? The answers hinge on a question; does patronising productions associated with these aggressors condone their past actions and if it does, what do we do?
When responding to this question, we need to accept that as consumers of media we have the power to discourage a culture that creates safe spaces for abusers to hide, thrive, and be publicly lauded. To do this, hard decisions must made about the media we consume. Encouraging a culture where abuse allegations are taken seriously means hitting Hollywood in its pockets; boycotting movies and being loud about the reason that we're not seeing the new Woody Allen production is because of his alleged – and murkily horrific – child-abusing past. Tweet that the reason we're not seeing the new Fantastic Beasts movie is because they cast Johnny Depp, an actor who managed to avoid a court case about his alleged emotional and physical abuse towards his now ex-wife Amber Heard in 2016. In order to support an industry that doesn't excuse sexual abusers, it appears that we need to blacklist these actors and producers. No matter how it plays out, we must be resigned to the inadvertent negative fallout against actors who had no choice in being cast alongside alleged perpetrators, and hope that this does not amount to more than the positive change that shunning these perpetrators will do.
Action begets action. Movement begets movement. Change starts with individuals making collective choices – and through the power of the people, Hollywood will have to change or die. Fortunately, there are good people out there using the power of their own fame and personal pull to input changes. Just see Brett Ratner being pulled from the Wonder Woman sequel through a collective decision from director Patty Jenkins and her team behind the Wonder Women movie. These are positive steps forward for the industry and for cultural attitudes towards abuse. But if positive change is monetarily motivated, what happens when our decision to watch or not watch a film has no monetary consideration?
If the DVD is already bought and in private possession, the question becomes one of ethics not logistics; can we still watch and enjoy their past works knowing that they've abused their positions of wealth and power? Should we watch it and boo whenever they come on screen, throwing popcorn and muting their lines? Should we not watch what they've starred in, shunning old favourite movies even at the expense of not re-watching the five other amazing actors who haven't been accused or found guilty of abuse? There's a line of reasoning here that asks if the DVD is already owned, does watching it hurt anyone? Well… no. No one profits, no one gets paid, and yet… it feels that continuing to watch the work of abusers and sexual harassers also supports them and their art.
If this is so, don't watch it. This is a hard thing to do. There are movies I adore and have watched so many times that I know the lines off by heart. Yet watching them now, knowing what I do about the one actor in that otherwise faultless cast, the movie itself has been soured. It's desecrated. Watching it leaves a bitter taste in the mouth and maybe that's a good thing. The other option is sitting there with that knowledge whilst I watch them, doing something akin to going, 'Gee' I know Rolf Harris was a paedophile who abused kids, but 'Tie Me Kangaroo Down Jack' is a banger you can't not listen to'. Hopefully that thought sits uncomfortably with you because it does with me.
Perhaps the key to ethically consuming art and media lies in deciding how much we want to support a culture within our arts industry where perpetrators of gendered abuse, violence, and harassment have no safe harbour. Once the revelations about an actor's abuse or sexual misconduct becomes known, it appears that the only ethical thing to do is boycott their work and be collectively loud about why. To do otherwise is tantamount to approval of their actions. But when it comes to their old work, the ethically correct thing to do cannot be dictated by an online article, but worked out according to the demands of the individual moral compass. But at no time should we forget their history or what they've done. To do so diminishes the violence of their crimes.
Can art, no matter how good, truly mitigate the actions of a person who takes advantage of their power and privilege to abuse or harm? Perhaps it shouldn't, even if we can separate the art from their artist. No statement involving, 'they sexually abused someone' should have a 'but their work is amazing' with a 'and I support them'. Perhaps we can appreciate their art alone but, to do this ethically, it should be done with the understanding that they must not be lauded for it, given safe spaces, or let their past be forgotten until their victim says so. They might be a great actor or a fantastic artist, but there are better ones out there – both morally and artistically.
The takeaway from this is that collective movement starts from individual choices, and our individual choices about the media we consume has an effect, for good or for ill. It's down to us, to you and to me, to decide what type of effect we want to have on the media industry.
Words by Taeghan Buggy
Taeghan Buggy is a writer, a poet, and a performer. Her work tends towards emotional gut punches and dangerous words. Taeghan's immersion within 'Arts Culture' includes the New Wave Audio Theatre project, Flinders' Speakeasy Creative Readings, and Adelaide's open-mic poetry scene.
Author tulpamagazinePosted on December 5, 2017 Categories OpinionTags Abuse, arts, Brett Ratner, Ethical Media, Ethics, film, Harassment, Harvey Weinstein, Hollywood, Industry, Johnny Depp, Kevin Spacey, Louis CK, Media, Rolf Harris, Television, Woody Allen1 Comment on Ethical Media Consumption: Is it Just a Question of Conscience?
You Only Kill for Love
Only Objects will thrill the living daylights out of you with their new single
Recently Tulpa Magazine sat down with Patrick Lang, vocalist of electronic band (and self-described genre-botherers) Only Objects to discuss the band's newest single, 'You Only Kill for Love'. If the title brings to mind Bond films, you're very much on the money. Created to evoke–but not emulate–the unique Bond sound, this is a perfect balancing act, and one the song achieves with aplomb.
In order to find the essence of the Bond theme, Patrick went back and listened to every Bond song again. He points to the Sean Connery era songs as an influence, acknowledging the significance of 'Goldfinger' and, despite his low opinion of the film, 'Diamonds are Forever' (both Shirley Bassey songs).
1973's 'Live and Let Die' is another song Patrick refers to as an influence, as are the more recent 'GoldenEye' (1995) and 'Another Way to Die' (2008). The influence of all these songs can be felt in 'You Only Kill for Love' without ever feeling as though the goal is to imitate them. It is more a child of these songs than a clone.
Somewhat disappointed with 'Writing's on the Wall', the latest Bond theme which accompanied Spectre, Patrick was moved to write something that felt more like what Bond is about. In the case of the most recent film, a song he considers a more fitting choice in Radiohead's 'Spectre' was available but ultimately turned down, and released separately.
Asked about the less effective songs throughout the decades of the Bond series, Patrick alights upon the Roger Moore era as being one not graced by many memorable instalments in Bond's musical ouvre. The late seventies and early eighties were a time of change in the nature of music production and Patrick theorises that the desire to keep up with these changes had an adverse effect on the Bond songs produced in this time.
Every era of the Bond series has produced a song that captures the essence of a Bond theme well, says Patrick. The Connery era had the memorable 'Goldfinger', the Moore era 'Nobody Does it Better', and the Pierce Brosnan era 'GoldenEye'. In many cases, it is the first song of a new Bond that offers the strongest song, says Patrick, but he does not consider this to be the case with the Daniel Craig iteration. 'You Know My Name', the song accompanying Casino Royale, is a song Patrick considers a very good song but not such a good fit for the Bond series.
The process of making a song feel appropriately Bond-esque is a fine balancing act. A song such as 'You Know My Name' can succeed on its own merits but not quite fit the style of the series. There is an elusive essence to attain in order to ensure the song is sufficiently fitting. To that end, how did Only Objects bring together a song that matched the expectations of such a song? Patrick explains that he brought ideas and a demo to the band and they collectively workshopped it with their medley of instruments, including drum, keytar, keyboard, and synthesiser. Together, they managed to find the balance to work the style through the song's components and ensure the song was one that played well on its own.
Due to the length of the song, a radio cut was a tough chore as the song plays like a spy film in miniature. It rises to a crescendo before the built tension is released by way of a dubstep drop standing in for the explosive action sequence, leading finally to the denouement. The shape and essential style of a spy film, most particularly a Bond film, is present in the song in a smaller format.
Come the recording, Only Objects sought to make it as big and dramatic as possible, giving themselves full licence to kill. The size and scope of the song is to be marvelled at, layered with a rich musical background as it is. The influence of the Bond series can be felt in it but it is never derivative of a song. To this listener, the influence of 'Another Way to Die' and 'Live and Let Die' are present, but not dominant, the balance is kept well and the musical heritage this song taps into can be found should you only look for it – and there's plenty to be found in a song for which the world is not enough.
'You Only Kill for Love' is released on November 18 on most online music services.
https://www.facebook.com/onlyobjects
With thanks to Patrick Lang.
Only Objects
Patrick Lang – Vocals, synths
Cam Walters – Keys, keytar, backing vocals
Christopher Jazzcat – Bass, backing vocals
Gerard Spalding – Drums, backing vocals
Author tulpamagazinePosted on November 16, 2017 November 16, 2017 Categories MusicTags 007, electronic music, film, James Bond, Local Music, Music, Only Objects, synth1 Comment on You Only Kill for Love


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Williams » Office of the President » Writings and Remarks » Letters from the President » Message from the President
The start of classes marks the launch of a new year: new in terms of a fresh cycle of the learning, challenge, and fun that characterizes college life, and new as my first full academic year in this remarkable place. There's so much I'm looking forward to.
I thought I'd take a moment to brief you on where things stand for Williams at this point in the calendar and to think a bit about what lies ahead.
Anyone who believes that colleges close down in the summer didn't spend the past three months here, where faculty were busy with scholarly work and course preparation, working with almost 300 students. The amount of student learning that takes place here in summer is impressive, fueled by a level of research opportunities that's unique to Williams. A busy schedule of summer conferences and camps kept the dorms, classrooms, theatres, and playing fields abuzz. Meanwhile, staff were making the usual, large transitions from one year to the next and, in many cases, planning carefully how to reorganize our operations to make them more effective and efficient. More on that later in this letter.
News of the world economy remains unsettling, while the College's finances continue to warrant cautious optimism. Thanks to the efforts of many, we finished the 2010 fiscal year somewhat ahead of budget. I know how difficult budget setting has been of late, so to stay within our spending targets while protecting our core academic offerings was a significant achievement. I'm grateful for the hard work, careful prioritizing, and creative solutions, from all quarters of the College, that brought us to this goal. We'll need to continue to show considerable restraint in our expenditures, and I look forward to working with you to assure that the money we do spend is aligned with the College's highest priorities.
The return on our endowment investments for the fiscal year was 11.9%. Factoring in gifts to the endowment and spending from it, this put our total funds on July 1 at around $1.52 billion, a welcome increase over its value last year, but still more than 20% lower than this time three years ago. We project spending some 5.1% of that in the current year. Although that rate is widely considered to be unsustainable over the long run, it is part of a Board-approved plan to soften, over last year and this one, the impact on Williams of the world financial crisis.
The full financial effect of the early retirement program that the College launched last spring won't be known until it's been determined how many vacated positions will be filled. Those decisions hinge on reorganization discussions, some of which have been concluded and others that are ongoing or will begin soon.
Adjusting our spending to the new fiscal realities has depended on the adaptability of many. People across campus are absorbing work previously done by others, and in some cases are moving organizationally or geographically. Our thanks go to you all, for, if we follow this process to its end, we should, barring another dip in the world economy, be able to meet our goal of realigning College spending while protecting our core offerings and avoiding layoffs.
I'm pleased that, despite the tighter times we live in, the faculty was able, through careful planning, to approve new majors beginning this year in Arabic Studies, Environmental Policy, and Environmental Science. With creativity and the sharing of resources, we can bring about timely curricular change even in this economic climate.
As many of you know, when the financial crisis hit, the College put two building projects on hold. I remain optimistic that we'll be able to begin work this spring on the new Sawyer Library, which we continue to seek funds for. Meanwhile, the Weston Field project is undergoing a review to make sure it'll provide what we need at the right price. I'm optimistic about this project, too, though on a somewhat longer timeframe.
Personally, the joy of this summer was finally being able to move my family here. The campus, Williamstown, and the Berkshires have already proven wonderful places to be part of. My warm thanks to all who've been so welcoming to us.
This year will be one in which I continue to work to understand more deeply the Williams community. I've met many of you but hope soon to meet and learn from you all. I also plan to help guide the campus-wide reorganization discussions, which are so important to our future, and to do all that I can to get that library built.
All told, I'm more excited than ever to begin our first full year together. May it be a deeply fulfilling one for us all.
Reorganization Process
Alignment of Senior Administration

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For Associate Dean of Undergraduate Students Tom Dunne, few student requests are too wacky to be dismissed out of hand. Students want to set up a lingerie-clad, bound and gagged blow-up doll to protest U.S. policy relating to funding for family planning abroad? OK. Animal-rights activists want to wrap themselves in cellophane and pretend they are pieces of meat? No problem. Understanding and patience flow in abundance in Dunne's office, which advises student organizations and plans nonacademic activities related to orientation and Commencement. Dunne spoke with PAW on the day after Commencement, just a few hours after he and his colleagues had started working on Class Day 2010. He was exhausted, but nevertheless enthusiastic.
We're fortunate to have students who are very creative, bright, and ambitious, who want to contribute either on campus or in the greater community, and come in with a ton of ideas. I see our role as trying to help them be as productive as they can with their time and resources.
The vast majority of my time is working with students to help crystallize what they hope to accomplish with their program — what they're trying to communicate, where they see opportunities for collaboration. It's really getting them to think at a sophisticated level, not only about the logistics of an event, but about what it says about their group's mission. We definitely want these activities to be student-driven — that's the whole point of our office.
Additionally, we advise the Undergraduate Student Government and the class governments, and we work yearlong on big campus events. I'm also the person who attempts to censor the band's halftime shows. There's always a lot of interesting conversations with the band about where the barometer is for appropriate comments.
When classes are in session, the term "typical day" or even the term "day" is a loose construct. It's common to get e-mails from students at 2 a.m. about their new grand vision, which they want to get up and running in a day or two. Every day, you come in and the students bring all sorts of unexpected new ideas, new challenges, and new opinions in the door. It makes it a very dynamic place to work.
So on any day, I might be working with an association to help students find hotels in D.C. when others come in trying to find the largest pig in the tri-state area, and then a student publication comes in wanting leads on the best printing shop for the price. It runs the gamut. You have to be very flexible.
Sorry ... The largest pig in the tri-state area?
The pig roast is an annual tradition of the Princeton Southern Society. This year, at my encouragement, they bought a pig that was too big for the smoker, and it fell out in the middle of the night. So the students e-mailed me, notifying me that the pig had fallen out, that they were able to put out the fire, and that they were desperate for emergency funding to buy already-prepared pulled-pork barbecue.
What have you learned from students in your time at Princeton?
One thing I love about Princeton and about my job is that there's a lot of reciprocity between the work that students do in their classes and their own personal passions.
So I've learned about things like the Slow Food movement, microfinance, banking via cell phones in developing countries, and online-voting security. These are all things students brought to me before I was even aware of them. Months, or years, later I've seen them become mainstream media stories.
As far as trends, in my 10 years here, the focus has become much more international. Students are really interested in doing work in Africa. The interest in community-building and concepts of civic engagement has become more advanced and sophisticated.
I've also learned to never, ever underestimate a Princeton undergraduate. There are times when I've thought, "I can't see that making a real splash on campus," and it's been incredibly successful.
How do you prepare yourself for whatever will come next?
First, I think you just have to throw yourself in with the enthusiasm that the students have.
In our office, we constantly remind ourselves that these students are volunteers, and they have very demanding lives outside their student-organization work. The same person who's doing last-minute funding requests for a theater performance is also a molecular-biology major with papers due and a campus job. Secondly, I think about the commitment and promise we've made to these students about the type of environment they're coming to. Princeton is an institution that prides itself on giving undergraduates opportunities to learn and lead. We have to uphold our end of the deal.


It's well worth a stroll in the evening along the quay at the Platz der Deutschen Einheit.
The ZinCo system build-up "Driveway with Elastodrain®" was installed bit by bit.
Elastrodrain® EL 202 layer is followed by the extra rigid system filter PV and then gravel and grit.
An architectural wonder with a glass crown of waves: the Elbphilharmonie, affectionately known as "Elphi", has established itself as a new landmark in the Hanseatic City of Hamburg, after much squabbling during the construction period. The modern glass building above the multi-storey red-brick façade of the old Kaispeicher A warehouse on the River Elbe comprises two world-class auditoriums, apartments, a hotel, restaurant facilities and a Plaza at a height of 37 m that is accessible to the public. The red-brick building houses the Kaistudios, the education centre of the Elbphilharmonie, a restaurant and the spa area of the hotel. It also contains the underground car park, which stretches beyond the facade boundaries. For this reason, approx. 4300 m² of paving were installed on the "Platz der Deutschen Einheit" with the ZinCo system build-up "Driveway with Elastodrain®". Free access!
The Elbphilharmonie is located on the western headland of the Elb island of Grasbrook in the Hamburg HafenCity. This location is marked by the former use of the Port of Hamburg. The three restored harbour cranes that have been reinstated here are some of the relics from that time. The monumental building that is the Elbphilharmonie is up to 110 m high at its western corner, comprising 29 storeys. It is enclosed from the ground floor up to the Plaza on the eight floor by the listed red-brick facade of the former Kaispeicher A. This warehouse for cocoa, tea and tobacco, built between 1963 and 1966, was fully gutted and a glass superstructure installed on in, in a true tour de force of architectural and engineering art. Swiss architects, Herzog de Meuron, sees it as an "enormous crystal that reflects the sky, the water and the city in an ever-changing way". This is done with 1100 glass elements, some individually curved, with an applied grid foil for light and thermal protection in the building. For reasons of sound insulation, the Grand Hall and the Recital hall are completely acoustically decoupled from the rest of the building by means of steel spring packages. The load-distributing floor slab for the 200,000-t overall structure is founded on over 1700 piles that are rammed deeply into the Elbe riverbed.
The Elbphilharmonie in the "Platz der Deutschen Einheit" is surrounded by water on three sides and is accessible for vehicles only from the eastern side. Access for vehicles, pedestrians and the ferry terminal "Elbphilharmonie" are all at this side. Visitors arriving by boat use a generously proportioned, open-design staircase to go from the jetty to the Platz der Deutschen Einheit, which stretches from the forecourt of the building through its southern side and on to the western point. This whole area is not only accessible to pedestrians but also to delivery vans that are driving to the Elbphilharmonie. As the underground garage stretches to beneath the southern access route, this (deck) surace requires not only a high load-bearing capacity but also special protection. This is exactly what the ZinCo system build-up provides with its "Driveway with Elastodrain®" across a total of 4300 m², which was installed by the Hamburg company Zum Felde GmbH.
The basis was the reinforced concrete underground garage deck, with a two-percent pitch, with an infiltration-proof, bituminous composite seal. The system build-up "Driveway with Elastodrain®" was applied between October 2011 and June 2012, starting with a double-layered separation and slip layer. The separation layer is a 1000 g/m² heavy, project-specific fleece that also offers mechanical protection as it is capable of absorbing any pebbles or dirt particles that may occur. As a result, they cannot be pushed downwards into the waterproof seal. The slip function is carried out by the slip sheet TGF 20 as the second layer.
The heavy-duty building protection and drainage sheet Elastodrain® EL 202 was then applied. It is made of fully vulcanised rubber and thanks to the large number of studs and its extreme stiffness (shore hardness: 75 shore A), it is the perfect substructure for heavy loads such as driveways. The continuous rebated edge and special connectors allow for the custom-fit installation of the 1 × 1 m slabs.
The system filter sheet PV, a highly pressure resistant, consolidated, extra rigid filter fleece made of 100 % polypropylene was then applied. This serves to separate the drainage layer from the next layer of gravel and grit. Wheel loaders then spread the approx. 600 kg gravel per m² as, thanks to the installed Elastodrain® EL 202 elements, the roof waterproof membrane on the underground garage was well protected and was from then on accessible to heavy plant machinery.
A temporary construction road was planned for the remainder of the construction works. Half of the installed interlocking 10 cm thick concrete paving stretched first of all towards the edge of the quay, directly along the south façade. This construction road was immediately accessible thanks to the edging and wood shoring. Once the second half was completed up to the edge of the quay, it was possible to use the entire area for accessing and storing construction material and for construction equipment, plant and containers. While the temporary paving showed signs of heavy-duty use during the subsequent years of the construction works, the waterproof seal remains safely protected beneath the Elastodrain® EL 202 elements.
The changeover from the temporary to the final surface took place between March and September 2016. This was an organisational challenge given that other construction works continued undiminished at the Elbphilharmonie. The architects of the Elbphilharmonie wished to highlight the tradition of the port in their choice of paving. For this reason, they had a new paving stone specially developed from copper slag. Copper slag pavers were used almost everywhere in the port area well into the last century. The visible surface of the 12 cm new blocks were water-blasted or sanded. This produced homogenous interlocking rows of slightly varying surfaces and shapes, with edge lengths between 20 cm and 18/20/22. These stones were installed in the area of the south façade in a visually appealing format that resembled a long "zebra crossing". It is not only the thickness of the stones but also the layout in an interlocking pattern that will ensure that the paving will retain its shape, despite the horizontal loads that occur due to vehicles braking, turning and accelerating.
From the paved surface of the underground garage to the wave-shaped glass roof, the Elbphilharmonie is filled with special ideas that mark it out as an architectural masterpiece. The realisation of these ideas required a high level of technical knowledge among all those involved in the project. Since the launch concert in January, the tour de force on an engineering level has now continued on a music level.


Unlike shares of stock, investment properties can't be unloaded in a few seconds with a click of your mouse. The time between the decision to sell and the actual date of sale is often measured in weeks or months. Selling your own home can be an intimidating process if you don't know where to start, but selling an investment property requires even more work.
The amount of capital and the taxation issues surrounding the realization of that capital are complex when dealing with investment real estate. It is not, however, impossible to accomplish on your own. In this article, we'll look at the process of selling an investment property and focus on how to limit taxes on the gains.
The reasons for selling a rental property vary. Landlords who personally manage their properties may move and want to invest in something near their new residence. Or a landlord may want to cash in on the appreciation of a rental property rather than accumulating money through rent. It may even be a case of a property that is losing money, either through vacancy or not enough rent to cover the expenses. Regardless of the reason, real estate investors looking to sell will have to deal with taxes.
The capital gains taxes on a rental property sale are much steeper compared to the straightforward sale of a personal use property. The basic capital gains that you have to pay on the profit from the sale are increased by any depreciation you claimed against the property. This means that if the property lost money and you used the loss against your tax bill in previous years, you will have a larger tax bill when the sale goes through.
Let's say you have a rental property that you bought for $150,000 and it sells for $200,000. Usually, this means that you pay capital gains on $50,000. If you deducted $20,000 in depreciation over the time that you owned the property, however, you owe the difference between the sale price and your purchase price minus depreciation: $200,000 – ($150,000 – $20,000). Instead of owing capital gains on $50,000, you now owe capital gains on $70,000.
Note: This shouldn't discourage you from claiming depreciation losses. It is almost always better to realize tax breaks sooner rather than later.
The Internal Revenue Code Section 1031 allows real estate investors to avoid taxes on their gains by re-investing them in a like-kind property. With the help of a lawyer or a tax advisor, you can set up the sale so that the proceeds are put into an escrow account until you are ready to use them to buy a new property. There is a time limit of 45 days to choose the new property and six months to complete the transaction. If you intend to do a rollover, you should start looking for the new property before you sell the old one.
The 1031 exchange works great if you intend to re-invest in another property. If you merely want to stop being directly involved, you can either hire a professional property manager for your current place, or sell it and buy a professionally-managed property. If your goal is purely to raise capital, however, you will just have to eat the capital gains tax.
Incorporation is becoming increasingly popular for real estate investors. By incorporating, investors can lessen their personal liability making the corporation act as a shield between you and the potential that a tenant may sue you. Your house and personal finances cannot be claimed in any kind of court action or legal proceedings when you incorporate. Corporations also have different tax rules that are quite favorable, especially with the capital gains from selling a property.
For a certain type of real estate investor, incorporation makes sense. If you are employing people to find and manage a wide range of income-producing properties and making significant profits at it, incorporation will lessen your tax bill, and then you will see the profits through the share structure of your corporation. For most real estate investors, there are better ways to get the benefits of incorporation without complicating how income is realized.
Incorporation can create a barrier between you and the earnings from your property so that if you depend on that income in any way, you may not be able to access it as easily as you'd like – particularly with large profits such as those from selling a property. It is comparatively easy to incorporate, requiring only some professional advice and paperwork, but getting your properties out of a corporation (for example, to sell them off and retire) is more complex because you are walking the line of intentional tax evasion/fraud unless you sell the corporation instead of the properties that make it up. This is, of course, much harder than selling a house.
In contrast, if you are personally managing two or three properties and have even one or two more that are professionally managed, you may not benefit from incorporation. If the income from your rentals isn't outpacing your expenses for each property by a large margin, you are better to hold them as is and use depreciations and write-downs where you can, or change your real estate holdings into a small business.
In addition to using a small business as an alternative to incorporation, some states allow real estate investors to open a separate limited liability company for each property they own. While this doesn't necessarily lessen the taxes, it does protect your finances, as well as each individual property, from any litigation that may be carried against one of your properties.
Selling a rental property can be challenging, and it is even harder if you are hoping to avoid a large tax bill on the proceeds. If you are selling in order to invest in a different property, then you can simply do a 1031 rollover and put off the tax bill. If you are selling because you need the capital, you will have to pay some taxes.
The best-case scenario, as with stocks, is to put off selling an investment property, especially a rental that is breaking even or better, unless you are offsetting credits or losses to take some of the bite out of the capital gains tax. This way, you will have a chance of reducing your overall tax bill and pocketing more of the proceeds.


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Showers with isolated thunderstorms. Much cooler with highs in the lower 60s. Southwest winds 10 to 15 mph, becoming west this afternoon. Gusts up to 35 mph. Chance of rain near 100 percent.
Mostly cloudy with showers likely in the evening, then mostly clear after midnight. Much cooler with lows in the lower 40s. West winds 10 to 15 mph with gusts up to 30 mph. Chance of rain 70 percent.
Sunny. Highs in the mid 60s. West winds around 10 mph with gusts up to 20 mph.
Mostly cloudy. A slight chance of showers in the evening, then a chance of showers after midnight. Not as cool with lows in the lower 50s. South winds 5 to 10 mph. Chance of rain 30 percent.
Mostly cloudy with a chance of showers in the morning, then partly sunny in the afternoon. Highs in the mid 60s. Southwest winds around 10 mph, becoming northwest in the afternoon. Gusts up to 25 mph. Chance of rain 30 percent.
Partly cloudy in the evening, then becoming mostly clear. Cooler with lows in the lower 40s.
A chance of showers in the evening. Mostly cloudy. Not as cool with lows in the mid 50s. Chance of rain 30 percent.
Mostly cloudy. Highs in the upper 70s. Lows in the upper 50s.
Mostly cloudy. A chance of showers. Highs in the lower 80s. Lows in the lower 60s. Chance of rain 40 percent.
Mostly cloudy with a chance of showers. Highs in the lower 80s. Chance of rain 50 percent.


I know we're already a week into 2010, but I wanted to get my goals for this year down. I'm not a resoloution kind of person. Change is good, but I really want to strive to live my life in a way that doesn't require huge changes at the beginning of EVERY year. So I decided to make a list of my goals for this year. Some of these I've already gotten started on and others are a bit more of a work in progress.
Lose 15 pounds, preferably in the first 6 months of 2010. I lost about that much last year and to get myself as close to my "pre-baby" body as I'm going to, this is what I have left. I know I can do it and I'm ready to!
Read my One Year Bible EVERYDAY! I tried to do this last year and many days didn't do it. The days I did read it I learned so much though and I want to commit to learning from the Bible even if I don't read it everyday like I plan.
Find a curriculum and teaching style that I enjoy for the remainder of this school year and for the next one. The last semester has been kind of boring/dissapointing for me in that regard and I want to be excited about what I'm teaching and excited that I get to teach my children. Right now, some days, I'm not.
Learn to weave or spin or both.
Get out of all debt, except our mortgage. We don't have too much to pay off, but we are also van shopping which would add more. I know it's possible, we'll just have to really buckle down and get the money where it needs to go, not always fun.
Finish a lot more of our house. I'd like to get our small bathroom remodeled and usable and finish painting and decorating more of the rooms. The sunroom and our bedroom are at the top of my painting/decorating list and slowly they are coming together! I will post pictures when they are actually finished of before and after like I promised a year ago! Rooms just aren't done so I haven't been able to do that yet.
Get healthier as a family. I know we aren't that unhealthy, but I just want to continue trying to eat more healthily and excercise more as a family even in the months that aren't as good for that.
Grow spiritually as a family and encourage each other. I don't think we do enough of this and I would like to make a concious effort to encourage my husband and children in their spiritual walk.
Find an enjoyable routine and curriculum, as stated above. I'm not the only one who is unhappy with the current stuff. We are getting ready to try some new things that I ordered and I will definitely post about them if we find that we like them!
Teach Taylor to write her letters, spell her name and get her started reading. She's been moving pretty slow with this in her preschool class and I am hoping to get her doing a better job by the end of 2010. She is so different than Kristopher and doesn't really seem to care. She wants to "do school" but she doesn't want to retain anything. She is also younger than Kristopher was when he started school, so I guess that could be part of it. Suggestions?
I would like to see Kristopher's writing skills improve. He does well with everything else, but he just doesn't like to write (at least not for school). A friend has suggested some books for me and I am going to see what fun things I can come up with.
Those are my current goals for the year. I'm sure there will be more added as the year progresses and of course I have small everyday goals too. How about you? Any big goals you'd like to share to get me motivated (or give me more goals – haha!)? I hope you accomplish everything that you set out to do this year.
Happy New Year a week late!


Laminate floor cleaners vinyl inspirations and fascinating in kitchen pictures flooring installation cleaner are best with attractive laminate floor in kitchen and gorgeous examples of wood collection images. Here are a couple motives and may still be an awesome selection.
9 directory of laminate floor in kitchen here to help your finish the undertaking with no trouble.


text:
package ysaak.leekwars.cmdline.exception;

/**
 * Technical HTTP exception
 */
public class TechnicalHttpException extends RuntimeException {
    public TechnicalHttpException(String message, Throwable cause) {
        super(message, cause);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Air New Zealand faces up to misconceptions, spreads the Kiwi gospel to Aussie non-believers
By Ben Fahy February 12, 2012 No Comments
New Zealanders, with our unusual combination of immense pride and nagging self-doubt, like to be liked ("How are you enjoying your trip? Are you enjoying your trip? You're enjoying your trip, aren't you?"). But, just as Aucklanders have certain preconceptions of, say, Invercargill, many Australians couldn't think of anything worse than visiting their Tasman neighbours. So, as part of a campaign launching today in Australia, Air New Zealand and its Aussie agency Host Sydney attempted to show a bunch of 'Kiwi Sceptics' what they were missing out on by tricking them into a trip to the other lucky country.
Youtube VideoThe campaign, the airline's biggest in the Australian market in the last ten years, takes the form of an online reality show that's narrated in quintessentially quirky and very funny style by the new master of awkward Kiwi humour Rhys Darby ("two fingers Burgandy, two fingers").
Each six-minute episode documents the journey of Air New Zealand's efforts to convert four Aussies—The Hipster ("New Zealand is nothing but sheep and Hobbits, why bother going?"), Bali Girl ("New Zealand is filled with sheep and old people"), Aussie-Aussie ("New Zealand is a reserve grade Australia") and The Europhile ("New Zealand lacks culture")—from rejecters into advocates in order to drive the destination up Aussie's travel wish-list.
All of them were initially told they were travelling to other far-flung destinations to get them on the plane, but then not so pleasantly surprised with the news that they were in fact going to New Zealand. They were then paired up with compatible Kiwi guides and, hey presto, in classic reality show style, their minds are blown—and possibly changed forever—by the end of the trips.
Of course, there's an element of truth to some of their engrained beliefs, but all those proud/doubting Kiwis out there will be pleased to know the four films, which were made by Aussie production house Jamboree, show the country off in a great light (aside from the weather). And the guides—Matua Parkinson, Isaac Hindon Miller, Aroha Harawira and Dr Lyndon Fraser—all come across well too.
Kelly Millier, marketing manager for Air New Zealand Australia, says it's in keeping with the fairly ballsy approach the airline is renowned for and is unique because it confronts the barriers to entry head-on in a very engaging style. And for her and the Aussie team, it's also nice to get the chance to do some video content.
The development of the campaign was driven from TNS segmentation insights that revealed while there are 5.3 million Aussies who seriously consider New Zealand as a destination, only one in five of these people actually make it across the ditch each year.
"At Air New Zealand we know New Zealand is one of the best places on Earth, but for one reason or another, there are many Aussies who don't see the same fresh and progressive side of New Zealand that we do," says Millier. "We figured if we could change the minds of those most sceptical, we should be able to convince those who are sitting on the fence."
The campaign will be supported with online and print advertising, editorial, advertorial, cinema and social activity. And kiwisceptics.com will be housed within the ninemsn site, enabling Air New Zealand to distribute content and provide channels to offer fares, deals and promotions.
Client: Air New Zealand Australia
Agency: Host
Creative: The Jamboree
Director: The Jamboree
Production: Candid Films
Media: PHD
http://www.youtube.com/watch?v=QynFk2TJuSU&feature=g-all-u&context=G2e35a6bFAAAAAAAABAA
Previous ArticleLatest mag and paper stats reflect changin' times
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Ben Fahy
Why pay for an ad that's half exposed? Dr Karen Nelson-Field explains why visibility is king
By Erin McKenzie February 20, 2020
Part One: "We should see ourselves as business leaders": Andrew Geoghegan on mature media use, effectiveness culture and diversity
By Erin McKenzie October 29, 2019
Blind & Low Vision NZ hopes to open up visual world


The pitfalls of digital bus payment methods.
As the digital revolution rumbles on, public transport, and in particular bus companies are seeing a change. With the rise in smartphones and new technology, bus companies are feeling the pressure as they look to embrace digital.
But, is this really the right move for operators, even with the influx of digital technology in every aspect of our lives?
Contactless card payments and smartphones mean that with the right technology passengers can now board a bus and pay with the swipe of a phone, or card. This appears to be more convenient, but in reality, there are numerous pitfalls to what appears to be 'a better alternative to tickets'.
While digital ticketing can speed things up, cut queues and provide transparency in both price and the amount paid, it fails to acknowledge the core elements of bus travel.
A paper ticket provides a proof-of-purchase and is essentially a boarding pass if questioned later in your journey, something which isn't as simple to prove on a smartphone.
Mobile e-ticketing relies on various factors to work successfully, including connectivity to the internet, something which may not be as easy in the countryside when network signal isn't as strong. Battery charge in your device must be OK, and you need to have an e-ticket application that operates successfully. Without these factors working together in harmony, boarding a bus and purchasing a ticket might not be so easy.
E-ticketing also requires customers to share their bank account details with the ticketing app, which has to be kept up-to-date to travel, but here more problems arise, once details are shared with a third-party; the issue of security becomes apparent. Hacking, fraud and data theft all become a risk.
Though these new forms of payment aim to increase the number of commuters by offering a simple solution to boarding, it can also alienate those that have little access to smartphones or aren't as technologically savvy.
For example, those on a reduced budget who want to see what they are spending by using cash, benefit from paper tickets, Young people who don't have access to their own bank accounts may find it impossible to pay with a smartphone.
Issues with 'smart card' technology became apparent with Madeira-based bus operator Horários do Funchal. As tourists flocked to the region, the contactless system in place, though beneficial for some residents, was clearly unsuitable for tourists without having access to the appropriate App, or with limited data access on their phones.
The installation of an Able Systems Ap1310DC mini printer on its fleet of buses improved customer satisfaction levels and allowed tourists to travel without any issues.
As the digitisation of bus payments continues, companies must be considerate of broad areas of the market that rely on paper-ticketing to get from A to B, rather than wholly devoting to the potential of new custom, and neglecting loyal advocates of public transport.
More information about the thermal printers available from Able Systems that are compatible with weighing systems, including the Ap1300, Ap1400 and Ap1200, can be found on our website.


Couloir Wines aim to express the true varietal character of grapes planted in different appellations, on different soils, and in different climates. The winemaking procedures are deliberately minimal; recognizing that the right grape in the right vineyard can produce wines of great character and expression.
Winemaker Jon Grant's love of wine came from managing a wine store in Snowbird, Utah. He then went on to run the wine program for the six dining rooms at the resort. Jon has worked at such wineries as Robert Mondavi, Plumpjack, Corison and Turley.
Couloir is a relatively new operation, with 2007 being the inaugural vintage. The name Couloir means a steep mountainside gorge and reflects Grant's love for ski mountaineering.
What a strange coincidence then that I'm in Park City (Utah) talking about his wines!


Five countries dominate gilthead seabream production—Greece, Israel, Italy, Spain, and Turkey (listed in descending order of production). It is still a relatively small industry, accounting for just over 3% of the global marine finfish production assessed by GAPI (113,761 mT). The overall species score is 57, besting the global average of 50. Italy leads producing countries (65), and the worst-performing producer is Turkey (55). Intercountry variation in scores is due primarily to those indicators most affected by proportion in land-based facilities: industrial energy (INDE), biochemical oxygen demand (BOD), antifoulants (COP), escapes (ESC), and pathogens (PATH).


text:
Q: Javascript - Property of an object has the value of NaN, even when I explicitly assign it a number value I am making a basic platform game in my spare time, and I am currently trying to add gravity.  The game runs in a canvas, and so I am using black pixels as solid objects.  The sprites I am making are supposed to fall when they have not contacted a solid black line.  To do this I am using context.getImageData() and the x position, y position, width, and height properties of my sprite objects.  When I create the player sprite I assign it an x position of 10, a y position of 10, a width of 50, and a height of 100:  var player = new Sprite (10, 10, 50, 100); My problem is that when I try to draw the sprite or use its y position in context.getImageData() it says that the y position is Nan.  The code below is a simplified version with only relevant variables.

//-----------SETUP-------------//
//----GLOBAL VARIABLES---//
var gravityValue = 1;  //amount of change that gravity makes per move
var fallBoxThickness = 1; //thickness of fall-box check

var canvas = document.getElementById("canvas");  //get the canvas object
 canvas.width = 800;  //set the canvas width
 canvas.height = 600; //set the canvas height
var context = canvas.getContext("2d");     //get the canvas's context, 2d

//--------OBJECTS---------//
function Sprite (x,y,width,height) {  //sprite object
 //components
 this.x = x;    //sprite x position
 this.y = y;    //sprite y position
 this.width = width;  //image width
 this.height = height; //image height
 this.dx = 0;   //sprite x movement
 this.dy = 0;   //sprite y movement
 this.gravityEnabled = true; //allows sprite falling, must be manually disabled

 //methods
 this.draw = function () { //draw method
    //context.drawImage(this.src, this.x, this.y);
          //draws the sprite to the canvas
      //it used to do the above, now it outputs it to the output span
      document.getElementById("output").innerHTML = this.y;
 };

 this.move = function () { //move method
  if (this.gravityEnabled === true) { //if the sprite can fall
   var hit = false;   //a hit is not yet detected
   var checkSpace = context.getImageData( //get pixels to see if the sprite ...
    this.x, parseInt(this.y + this.height),   //... will hit an object below it's lower edge
    this.x + this.width, this.y + this.height, + fallBoxThickness);

   var i = 0; //set i to 0
   while (i < checkSpace.length && hit === false) {
    //while the check hasn't finished and a hit isn't detected
    if (checkSpace[i] < 5  //
      && checkSpace[i+1] < 5 //if there is a black pixel
      && checkSpace[i+2] < 5) { //
     hit = true;  //record that there is a hit
    }
    i = i + 4; //add 4 to i
   }
   if (hit === false) { //if the check didn't hit
    this.dy += gravityValue; //add to the fall of the sprite
   } else {
    this.dy = 0;
   }
  }
  this.y += this.dy;
 };
}

//------------PLAYER CREATION---------//
var player = new Sprite (10, 10, 50, 100); //create the player object

//--------FUNCTIONS--------//
function drawCanvas () { //draw everything on the canvas
 player.draw(); //draw the player
}

function moveSprites () {
 player.move();
}
//----------MAIN-----------//
function main () {
 moveSprites(); //move the sprites
 drawCanvas(); //draw the screen
}

setInterval(main,100);  //run main 10 times a second,
   //start the program
<title>ptf2</title>
<canvas id="canvas" style="border:1px solid black;"></canvas>
there was images here but the javascript never gets far enough to render them because of the y-position error.

Instead I am just outputting the value of the player sprite's y-position to the span below.

:this is to prevent it from occasionally being undefined

Also, I'm really not sure why this version works instead of what I had before, so now I will include the full version:

//-----------SETUP-------------//
//----IMAGES----//
document.getElementById("map").style.display = "none";  //hide the map image
document.getElementById("sprite").style.display = "none"; //hide the sprite image

//----GLOBAL VARIABLES---//
var gravityValue = 1;  //amount of change that gravity makes per move
var fallBoxThickness = 1; //thickness of fall-box check

var canvas = document.getElementById("canvas");  //get the canvas object
 canvas.width = 800;  //set the canvas width
 canvas.height = 600; //set the canvas height
var context = canvas.getContext("2d");     //get the canvas's context, 2d

//--------OBJECTS---------//
function Sprite (x,y,src,width,height,dx,dy) {  //sprite object
 //components
 this.x = x;    //sprite x position
 this.y = y;    //sprite y position
 this.src = document.getElementById(src); //sprite source image
 this.width = width;  //image width
 this.height = height; //image height
 this.dx = dx;   //sprite x movement
 this.dy = dy;   //sprite y movement
 this.gravityEnabled = true; //allows sprite movement, must be manually disabled

 //methods
 this.draw = function () { //draw method
  context.drawImage(this.src, this.x, this.y); //draws the sprite to the canvas
 };

 this.move = function () { //move method
  if (this.gravityEnabled === true) { //if the sprite can fall
   var hit = false;   //a hit is not yet detected
   var checkSpace = context.getImageData( //get pixels to see if the sprite ...
    this.x, parseInt(this.y + this.height),   //... will hit an object below it's lower edge
    this.x + this.width, this.y + this.height, + fallBoxThickness);

   var i = 0; //set i to 0
   while (i < checkSpace.length && hit === false) {
    //while the check hasn't finished and a hit isn't detected
    if (checkSpace[i] < 5  //
      && checkSpace[i+1] < 5 //if there is a black pixel
      && checkSpace[i+2] < 5) { //
     hit = true;  //record that there is a hit
    }
    i = i + 4; //add 4 to i
   }
   if (hit === false) { //if the check didn't hit
    this.dy += gravityValue; //add to the fall of the sprite
   } else {
    this.dy = 0;
   }
  }
  this.y += this.dy;
 };
}

var player = new Sprite (10, 10, "sprite", 50, 100); //create the player object
var map = new Sprite (0, 0, "map", 800, 600);   //create the map sprite
 map.gravityEnabled = false;   //prevents the map from falling
//--------FUNCTIONS--------//
function drawCanvas () { //draw everything on the canvas
 map.draw();  //draw the map
 player.draw(); //draw the player
}

function moveSprites () {
 player.move();
}
//----------MAIN-----------//
function main () {
 moveSprites(); //move the sprites
 drawCanvas(); //draw the screen
 alert("run");
}

setInterval(main,100);  //run main 10 times a second,
   //start the program
<title>ptf2</title>
<canvas id="canvas" style="border:1px solid black;"></canvas>

Any enlightenment would be greatly appreciated as to why the one doesn't work with the exact same values.  Thank you.

A: Your Sprite constructor has 7 arguments, but you are contructing it with only 5 arguments. Variables dx and dy are undefined, so they produce NaN after algebraic operations.

redpajama_set_name: RedPajamaStackExchange


text:
Rosalie von Rauch, celým jménem Rosalie Wilhelmina Johanna (29. srpna 1820, Berlín – 5. března 1879, Drážďany) byla německá šlechtična a později hraběnka.

Život

Jako mladá byla pokojskou nizozemské princezny Marianny, která byla manželkou prince Albrechta, jenž byl nejmladším synem pruského krále Fridricha Viléma III. V Berlíně se 13. června roku 1853 vdala za pruského prince Albrechta Pruského a stala se tak jeho druhou manželkou. Přibližně dva týdny před svatbou se stala hraběnkou z Hohenau. Vzhledem k nižšímu postavení Rosalie, bylo dle zákonů rodu Hohenzollernů manželství morganatické.

Manželský pár bydlel nějakou dobu v durynském Meiningenu. Odtud se později přestěhoval do obce Loschwitz nedaleko Drážďan, kde měl Albrecht sídlo.

Po smrti svého manžela žila pár let na zámku Albrechtsberg, kde také zemřela ve věku 58 let. Rosalie byla pohřbena v mauzoleu, které se nacházelo v parku poblíž zámku na místě bývalých lázní.

Potomci
Rosalie a Albrecht spolu měli celkem 2 děti:

 Vilém z Hohenau (25. dubna 1854 – 28. října 1930), pruský generál,
 ⚭ 1878 Laura von Saurma Jeltsch-Lorzendorf (6. října 1857 – 24. února 1884)
 ⚭ 1887 Markéta Hohenlohe-Öhringenská (27. prosince 1865 – 13. června 1940)

 Fridrich z Hohenau (21. května 1857 – 15. dubna 1914), pruský major, ⚭ 1881 Charlotte von der Decken (

Odkazy

Reference

Externí odkazy

Hohenzollernové
Německé šlechtičny
Německé hraběnky
Narození v roce 1820
Narození 29. srpna
Narození v Berlíně
Úmrtí v roce 1879
Úmrtí 5. března
Úmrtí v Drážďanech
Pohřbení v Drážďanech
Ženy

redpajama_set_name: RedPajamaWikipedia


text:
Ganthela qingyuanensis est une espèce d'araignées mésothèles de la famille des Heptathelidae.

Distribution
Cette espèce est endémique du Fujian en Chine. Elle se rencontre à Quanzhou sur le mont Qingyuan.

Description
Le mâle holotype mesure  et les femelles de  à .

Systématique et taxinomie
Cette espèce a été décrite par Xu, Kuntner et Liu en 2015.

Étymologie
Son nom d'espèce, composé de qingyuan et du suffixe latin , « qui vit dans, qui habite », lui a été donné en référence au lieu de sa découverte, le mont Qingyuan

Publication originale
 Xu, Liu, Chen, Li & Kuntner, 2015 : « Integrative taxonomy of the primitively segmented spider genus Ganthela (Araneae: Mesothelae: Liphistiidae): DNA barcoding gap agrees with morphology. » Zoological Journal of the Linnean Society, , .

Liens externes

Notes et références

Heptathelidae
Espèce d'araignées (nom scientifique)
Faune endémique du Fujian