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Force Majeure (2014)
(Release Date: February 10, 2015) – With all of the untainted resplendence of a travelogue and all of the cathartic emotional signification of human drama both high-powered and intimate, "Force Majeure" is an unsuspecting cinematic spectacle. Writer-director Ruben Östlund has crafted a dream for the senses, revelatory in its audacious examination of a provocative hot-button subject that has never before, in quite the same way, been broached in a feature film. Its visual conception and mise en scéne are hypnotic, aesthetically matching only Jonathan Glazer's "Under the Skin" amongst this year's releases. The music, taking portentous advantage of an accordion rendition of Vivaldi's "Summer," threads the thorny narrative like a seamless cross-stitch. Tonally, there is near-perfection in Östlund's accomplished wedding of squirmy frostbitten humor and thoroughly dismaying interpersonal devastation, the two halves congealing into a single sublimely observed, entirely original slice-of-life. Indeed, "Force Majeure" works on so many different levels and unyieldingly pierces the heart of so many different relevant topics—about marriage and family, about gender roles and societal expectations, about self-sacrifice vs. self-preservation, about guilt and shame and everything else that makes us human—it comes as no surprise it won the Un Certain Regard Jury Prize at the 2014 Cannes Film Festival.
For Swedish couple Tomas (Johannes Bah Kuhnke) and Ebba (Lisa Loven Kongsli) and their children, Vera (Clara Wettergren) and Harry (Vincent Wettergren), a relaxing, picturesque vacation at a ski resort in the French Alps instantly transforms into something far more contemplative and unsettling when they face what they initially believe to be a near-death experience. On their second of a planned five-day getaway, the family is lunching on an idyllic outdoor patio when they bear witness to what Tomas reassures Ebba is a controlled avalanche. When the mighty wave of powder barrels closer and looks like it is about to make impact, a panicked Tomas grabs his gloves and cell phone and runs, leaving behind his wife and kids to fend for themselves. The incident is a false alarm—the avalanche loses steam at the last second and only a light mist blankets them—but the silence that meets Tomas afterwards when he returns to their restaurant table is deafening. Vera and Harry question why their dad wasn't there when they needed him, and Ebba feels downright deceived by a man whom she had always assumed would try to protect them at any cost. When she can no longer keep her feelings inside, she is met with yet another betrayal: his unwillingness to admit to his decidedly unheroic actions.
"Force Majeure" opens with its central quartet posing for pictures on the slopes, each snapshot staged to present a fabricated version of reality. Away from the camera, they appear to be a happy, copacetic clan, free of unwanted strife and content to spend the bulk of their hours together. Following Tomas' spur-of-the-moment decision to abandon them and save his own skin, the luster of their tight-knit unit is instantaneously stripped away. Ebba wonders if she knows her husband as well as she once figured, but even more damning than what happened on that patio is how he chooses to deny it afterwards. Tomas says that he does not share her version of events, but in this instance there are no versions beyond the truth, her case supported all the more by the video he was recording when the avalanche hit. For a woman who would do anything for the ones she loves, Ebba is met in the days following by doubts about her life and—inspired by her new friendship with fellow mother Charlotte (Karin Myrenberg Faber), who has unapologetically left her family for a vacation with younger boy-toy Brady (Brady Corbet)—a revised outlook on the sanctity of relationships and common social mores.
Director Ruben Östlund is a master of insinuation, authenticity and purposeful discomfort, his characters' tense conversations punctuated by periods of quiet where it is readily clear what they are thinking and what they are in danger of verbally unleashing if they opt to finally speak their minds. In biting sequences where Ebba, in need of someone to listen to her, expels her pent-up feelings in front of Tomas to outside acquaintances—Charlotte and Brady at dinner, family friends Mats (Kristofer Hivju) and Fanny (Fanni Metelius) in a would-be jovial get-together that turns into a soul-baring therapy session—it is next to impossible to blink, let alone turn away. The more subtle moments are just as clearly and poignantly defined, from teeth-brushing sessions in front of their bathroom mirror, to their skiing excursions amidst a mountainous winter wonderland, to a scene where Ebba catches a lift to the top of the peak for some "alone" time and happens to privately spot Tomas and the kids through a patch of trees that separate them. One particular scene where Tomas and Mats have a strange encounter with some young ladies by the pool is deliciously awkward in the most spectacular way, playing out in a single shot as "Reload" by Sebastian Ingrosso and Tommy Trash blasts on the soundtrack. In another, a private conversation between Tomas and Ebba outside their hotel room finds relief in the natural absurdity that arises as a nosy man smoking a cigarette eavesdrops on them from across the way.
It is difficult to discuss performances when every actor is so absent of artifice. With only one recognizable name among them—Brady Corbet (2011's "Martha Marcy May Marlene"), in a small but memorable role that allows him to fully blend with his co-stars—the ensemble players seem to be existing as their characters in lieu of portraying scripted parts. Johannes Bah Kuhnke and Lisa Loven Kongsli feel like a legitimate married couple as Tomas and Ebba, their longstanding bond and mounting disconnect reverberating with uncompromised frankness. Kuhnke delivers the necessary guarded nuances of a guy whose tarnished masculinity is but a magnifying glass to all his other mistakes and shortcomings. Kongsli brings steep emotional complexities to a woman who cannot help but reassess all that she thought she knew about her spouse. Yes, Tomas' actions were spontaneous, unplanned and lasted mere seconds, but the implications of such are incalculably vast. As daughter Vera and son Harry, real-life siblings Clara Wettergren and Vincent Wettergren are guileless wonders, so unforced in their interactions with each other and their on-screen parents it is a challenge to comprehend that the four of them aren't an actual family.
"Force Majeure" is stunningly lensed by cinematographer Fredrik Wenzel, he and writer-director Ruben Östlund bringing painstaking detail to the geography of their enticing setting and the day-to-day activities within a high-end cliffside luxury ski resort. Wenzel's immersive frame tracks the family's path across moving walkways, up and down the ravishing halcyon slopes, and through the impeccably hyper-modern hotel (exterior filming reportedly took place in British Columbia and on location in the French Alps, while interiors were shot at Sweden's lush Copperhill Mountain Lodge). Meanwhile, cannons forever fire in the distance and snow machines traverse the twinkling nighttime vistas in their quest to artificially perfect the vacation spot's advertised vision of paradise. The intended message is that nothing bad could possibly happen in a place like this, but of course that's far from accurate.
"Force Majeure" richly stacks one pleasure on top of the next. It is mature and perceptive and deeply moving, but its sly, razor-edged comedic bent is simultaneously on point, brilliantly blurring the lines between painful and painfully droll. Every image radiates with glacial beauty and virtuosic metaphoric symbolism. As all great art should, the film is destined to provoke serious discussions and passionate debates among viewers. Perhaps because these characters' specific quandaries are a departure from more familiar movie conflicts and tropes, there is increased novelty in audiences being confronted by "what-if" questions they have likely never asked themselves. Tomas and Ebba have a great many issues to work out if there is any hope of repairing their relationship, while Vera and Harry are trapped helplessly in the middle, longing for things to go back to the way they were when they arrived at the resort. The picture's final ten minutes, taking the family into the eye of a stormy whiteout and then, slowly, back down to earth on a perilous bus ride along the mountain's treacherous bluffs, are staggering in the breadth of what is said and suggested without precious little being uttered at all. Whether they realize it or not, Tomas and Ebba are rendered one in the same as their friends and vacationing day-player acquaintances existing on the periphery, a flawed and fallible cluster of humanity unified by their shared resilience and lack of answers. "Force Majeure" is a blistering, ultimately empathetic tour de force.
A/A
"Force Majeure" featured some of the most stunning cinematography of 2014, making use of the snowy French Alps and its central ski resort in a way that has rarely ever been captured before on screen. As expected and hoped for, the film's 1080p transfer is a top-of-the-line high-def presentation, drawing the viewer in with every immersive frame. Detail is first-rate, colors—the white of the slopes, the brown oak and sleek metallic of the hotel interior—are masterfully vivid, and the 2D image holds a lifelike depth that one cannot get from synthetic 3D. There is the rare shot that looks ever so slightly softer than others, but this appears to be true to source. The Swedish 5.1 DTS-HD Master Audio (with optional English subtitles) is excellent as well, as long as one realizes this is a generally quiet, talk-heavy character drama and does not feature too many chances for sonic fireworks. With that said, the dialogue is clear and assured, and the pieces of music used—Vivaldi's "Summer" and Sebastian Ingrosso and Tommy Trash's "Reload"—offer up a pleasing fullness as they fill the surrounding speakers.
Interview with writer/director Ruben Östlund and actor Johannes Bah Kuhnke (16:43, HD)
"AXS TV: A Look at Force Majeure" Featurette (2:37, HD)
"Force Majeure" is mesmerizing, a bristly but sympathetic slice of life that deeply touches and visually inspires. When so many movies are variations on the same plot, here is one that is unique and provocative. Magnolia Pictures' Blu-ray release lives up to the film's quality, and the interview with the director found in the special features brings invaluable insight into the genesis of the project. "Force Majeure" is a must-own on Blu-ray, and receives my highest recommendation.


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Q: Silverlight Planeprojection I have a user control that has a white background with a Zindex = 0.  I also have an image on top of the white background with a Zindex = 10.  When I use planeprojection to flip the image 180 degrees on the X-axis it just shows my image in reverse.  How would I get it to show the white background when it gets flipped?

A: PlaneProjection inherently won't show the "back side" of a container.  What you need to do:

*

*Define two elements in your container: one for the front/visible side and one for the back/hidden side

*When your PlaneProjection rotation is greater than 90 degrees, hide the front element, and show the back element.  Vice-versa for switching back to < 90 degrees

*I believe you can use the VisualStateManager to intercept when the rotation angle hits a certain value and to then apply the visibility.

Here is a Tim Heurer article on the VSM:
http://timheuer.com/blog/archive/2008/06/04/silverlight-introduces-visual-state-manager-vsm.aspx

redpajama_set_name: RedPajamaStackExchange


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Animal Activist Barges Into Restaurant, Rants About Her Chicken Baby
Filed to:My Dinner's Name is Snow
Animal Rights activists may frequently be patently absurd, but some of them make for truly great entertainment. If you can make it through the above video without breaking up into hysterical wracked sobs of laughter, you are a far more stoic person than I.
In the video, which is titled (as if this wasn't already hilarious enough) "#DisruptSpeciesism," a woman named Kelly Atlas storms into a restaurant and asks all the patrons for their attention. She then proceeds to tell them about her "little girl, Snow," who it soon becomes apparent is, in fact, a chicken. She relates through tears a somewhat disjointed story about rescuing Snow and "leaving her sisters behind," which makes me think there was a poultry farmer who watched animal rights activists steal his chickens while they shouted about freeing the oppressed and he stood there with the world's greatest "WTF" expression. OK, it probably didn't happen like that, but please, let me dream.
"THIS ISN'T FOOD!" Kelly shrieks through tears towards the end, "IT'S VIOLENCE!" Then a cadre of like-minded people we all hope to God we never get stuck talking to at a party walk up and hold up signs proclaiming that "It's Not Food, It's Violence." If they are to be believed, then violence tastes goddamned delicious.*
As far as I can tell, this isn't elaborate performance art (and if it turns out to be, bra-fucking-vo to Kelly here) — she and those like her legitimately believe "speciesism" is a thing. Here's a tweet from her:
Wow, just...wow.
It's honestly hard for me to pick the moment in the video that makes me laugh that hardest here. Is it Kelly's earnest expression throughout her completely bonkers rant? Is it the moment where she tells people "I can see you laughing" and just keeps plowing ahead? Is it the fact that numerous YouTube commenters (I know, I know) seem to be genuinely confused about whether she's talking about a human baby? No, no: it's definitely the Motown soundtrack coming through the restaurant's speakers in the background throughout this entire video. It's definitely that.
'Scuse me, I suddenly feel an inexplicable need to go to a diner and go full Ron Swanson:
Personally, I think anyone who values animals over or equal to people is to be both pitied and backed away from slowly. This is not to say "vegans and vegetarians" — I have no issue with anyone choosing to eat however they want, and there's nothing inherently good or bad about being a meat-eater or a vegan/vegetarian. As well, factory farming is a really shitty practice, and the way we do agribusiness hurts not only the economy and the environment, but smaller farmers. It's a process that badly needs to change, and I can totally get behind any criticism of factory farming. Kelly Atlas and her loon brigade, however, aren't protesting simple factory farming: they're protesting the entire concept of eating animals, which, nope, bye. Animals aren't people, and if you feel like judging me for eating them, I am going to laugh at you.
Despite that, to anyone about to unironically use "speciesism" in the comments here as they rail against my cruelty towards my dinner: I promise I won't ban you. Seriously. It'll be WAY more fun to highlight your comments so we can all have a good laugh.
* I've thought long and hard about how I would've reacted if I'd been one of those customers, and I've come to the conclusion that it almost certainly involves me shouting, "EXCUSE ME, GARCON, I WILL HAVE ALSO THE VEAL AND ANY FOIE GRAS YOU HAVE ON HAND."

redpajama_set_name: RedPajamaCommonCrawl


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In the wonderful 1971 cartoon feature by American singer and songwriter, Harry Nilsson, entitled, The Point, one of the key protagonists sagely says, "People see what they want to see and hear what they want to hear." We're going to see and hear a lot of that as progressive writers begin their 16 month slog toward defining the "legacy" of Barack Obama in glowing terms.
Here's an early example from Dick Meyer. He writes (I don't think he's on medication, but after reading his piece, the possibility does exist):
President Obama will go down in history as an extraordinary president, probably a great one. He will have done this in era that doesn't aggrandize leaders and presidents, but shrinks them. All presidents have had profound opposition, vicious enemies and colossal failures. A few were beloved and others deeply respected in their day, but none in the modern era and certainly not Obama.
Okay, then. Meyer goes on the discuss and defend five policy achievements that he believes will lead to a judgement of "greatness." They are: (1) The Iran Deal, (2) Obamacare, (3) the recovery from 2008, (4) the "epic triumph" of becoming the first black president, and (5) "dignity and honesty" (suggesting that Obama's presidency is the first in 70 years not tainted by scandal).
Meyer is a poster child for Nilsson's comment in The Point—"People see what they want to see and hear what they want to hear."
Let's take each of Meyer's 'legacy achievements' in order.
The Iran Deal. My position on the "Iran Deal" has been made abundantly clear in four posts (starting here) over the last few weeks—not only is it a bad deal, it is irresponsible and extremely dangerous. It will lead to nuclear proliferation in the most unstable region of the world; it rewards (with billions of dollars) an aggressive enemy in the naive hope that Iran will modify its vicious, hegemonic behavior. It is an "achievement" in the same way that one might characterize creating a toxic waste dump as an achievement.
Obamacare. Constructed on lies in a hyperpartisan fashion, this program does little of what was promised. Medical costs continue to rise, insurance continues to go up, people have lost good coverage and replaced it with poor (very high deductible) coverage. It will cost the shrinking pool of American taxpayers trillions over the next few decades, will provide poor coverage for those who need it and riches for the crony capitalists (insurance companies) who benefit from it. It is a bureaucratic monstrosity and a monument to B.I.G. (big intrusive government).
The Recovery. We have experienced the weakest recovery in modern history, the lowest labor participation rate in modern history, the highest taxes in a very long time, and the largest deficits and debt ever. At the same time, under the stimulus $800 billion was wasted on Obama's core corporate and political constituencies, and at the same time an opportunity to rebuild our failing infrastructure (with stimulus dollars) was lost, probably forever.
The First Black President. Granted.
Dignity and honesty. We have witnessed the first president in modern history who publicly and repeatedly denigrated those who had opposing views, who treat true allies in a shabby fashion, whose political hacks called the leader of our ownly true ally in the Middle East, "Chickenshit." Yeah, that's real dignified. And honesty? Barack Obama has lied about key provisions of key programs and policies so often that it's no longer newsworthy. Whether it's "If you like your doctor, ... " or "We can verify whenever and where ever we choose ..." And scandals?—think Fast and Furious, the VA scandal, the IRS scandal, the Benghazi scandal—there are more.
As progressives spin Barack Obama's "legacy," keep in mind that if he truly was a great president, there would be no need to spin his legacy. I guess that's the real Point.
UPDATE: (7/23/15):
Apparently, Barack Obama agrees completely with Dick Meyer's delusional assessment that there have been no scandals in the Obama administration. Undergoing a rigorous (??) interview on comedian John Stewart's late night entertainment show (this president does not have the courage to submit to a serious interview from a journalist unless that journalist is one of his trained hamsters), Obama argued that (1) the only "IRS scandal" is the fact the the IRS is "underfunded," (2) that any "confusion" in IRS enforcement was due to the [Democrat-controlled] Congress created confusing tax regulations, and (3) that there was no intent to target groups that opposed his policies.
Stewart, one of Obama's most docile hamsters, didn't bother to ask: (1) why IRS executive Lois Lerner took the fifth if there was no wrong-doing; (2) why the IRS (and the administration) has done everything possible to stonewall congressional requests for information regarding the targeting; (3) why only conservative groups were singled out and targeted; (4) why IRS officials visited the White House an inordinate number of times during that period; (5) why Obama replaced the IRS commissioner with an arrogant, combative functionary, John Kostigan?
But no worries, Barack Obama is an exemplar of "dignity and honesty." Just ask Dick Meyer -- and John Stewart.
Binary View
The "Deal"
A New Religion


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Q: generate xml by only knowing the element name and his parent I want to generate an xml file, as said in the title. The data that I need is stored in a database table in the form XML_NAME and XML_PARENT_NAME, which is the parent for XML_NAME.
Now, can you give me some ideas, algorithms, how to generate my xml file by only knowing these two things ?
Thanks in advance!
UPDATE:
XML Example:
<root>
  <element1></element1>
  <element2></element2>
  <element3>
    <child>
      <text></text>
    </child>
  </element3>
</root>

Database model:
XML_NAME | XML_PARENT_NAME
root
element1   root
element2   root
element3   root
child      element3
text       child

I only have this DB entries and from these ones I need to costruct an xml file, which loooks like the above one.

A: Here's an algorithm that's easy to implement, assuming that you have a simple result set retrieved from the database, which contains the two columns you mentioned.

*

*Loop through all records first and construct an XML Node object for each XML_NAME name (put the XML Node objects in a List).

*Create a HashMap with String keys (XML_NAME name) and XML Node objects as values. Add each XML Node as an entry into this map.

*Loop through all records again (only once) and for each XML_NAME - XML_PARENT_NAME pair, look up both XML Node objects in the map. Add the XML Node of the former to the list of child nodes for the latter.

*Create a root XML Node. Loop through the list of XML Nodes and add each node which doesn't have a parent to this root node, as a child of the root node.

*Convert the root XML Node to String or do whatever you want with it.

A: Using XML Stream writer:
Here is a simple example that writes a series of events to disk, using a FileWriter:
XMLOutputFactory factory      = XMLOutputFactory.newInstance();
try {
 XMLStreamWriter writer = factory.createXMLStreamWriter(
         new     FileWriter("data\\output2.xml"));

writer.writeStartDocument();
      writer.writeStartElement("document");
writer.writeStartElement("data");
writer.writeAttribute("name", "value");
writer.writeEndElement();
writer.writeEndElement();
 writer.writeEndDocument();

 writer.flush();
 writer.close();
} catch (XMLStreamException e) {
 e.printStackTrace();
} catch (IOException e) {
 e.printStackTrace();
}

The result of executing this code is the following XML file:
<?xml version='1.0' encoding='utf-8'?>
<document><data name="value"></data>    </document>

Ref:http://tutorials.jenkov.com/java-xml/stax-xmlstreamwriter.html
If you dont need values just use writeStartElement and writeEndElement
Also another option with child elements is:
Element root=new Element("CONFIGURATION");
Document doc=new Document();
Element child1=new Element("BROWSER");
child1.addContent("chrome");
Element child2=new Element("BASE");
child1.addContent("http:fut");
Element child3=new Element("EMPLOYEE");
child3.addContent(new     Element("EMP_NAME").addContent("Anhorn, Irene"));

root.addContent(child1);
root.addContent(child2);
root.addContent(child3);

doc.setRootElement(root);

XMLOutputter outter=new XMLOutputter();
outter.setFormat(Format.getPrettyFormat());
outter.output(doc, new FileWriter(new     File("myxml.xml")));

A: You can use an algorithm which @mlkammer suggested.
After collecting final map which contains all info you can write it to file.
For an example, your map looks as Map<String, List<String>> map.
After it, you can easily format and write it to file.
Here is code snippet:
import org.w3c.dom.*;
import org.w3c.dom.ls.DOMImplementationLS;
import org.w3c.dom.ls.LSSerializer;

import javax.xml.parsers.DocumentBuilder;
import javax.xml.parsers.DocumentBuilderFactory;
import javax.xml.parsers.ParserConfigurationException;
import java.io.*;
import java.nio.charset.StandardCharsets;
import java.util.*;

public class XmlBuilder {

    private DocumentBuilder builder;

    private Document doc;

    /**
     * Constructs an item list builder.
     *
     * @throws CreateDocumentConfigurationException
     */
    public XmlBuilder() throws CreateDocumentConfigurationException {
        try {
            DocumentBuilderFactory factory = DocumentBuilderFactory.newInstance();
            builder = factory.newDocumentBuilder();
        } catch (ParserConfigurationException e) {
            throw new CreateDocumentConfigurationException("exception create new document", e);
        }
    }

    /**
     * Builds a DOM document for an array list of items.
     *
     * @param elementMap map of items.
     * @return a DOM document describing the items.
     */
    public Document build(Map<String, List<String>> elementMap) {
        doc = builder.newDocument();
        doc.appendChild(createItems(elementMap));
        return doc;
    }

    /**
     * Builds a DOM element for an array list of items.
     *
     * @param elementMap the map of items
     * @return a DOM element describing the items
     */
    private Element createItems(Map<String, List<String>> elementMap) {
        Element e = null;
        for (Map.Entry<String, List<String>> anItem : elementMap.entrySet()) {
            e = doc.createElement(anItem.getKey());
            for (Node node : createItemsList(anItem.getValue())) {
                e.appendChild(node);
            }
        }
        return e;
    }

    private List<Node> createItemsList(List<String> items) {
        List<Node> result = new ArrayList<>();
        for (String item : items) {
            Element item1 = createItem(item);
            result.add(item1);
        }
        return result;
    }

    /**
     * Builds a DOM element for an item.
     *
     * @param anItem the item
     * @return a DOM element describing the item
     */
    private Element createItem(String anItem) {
        // if you need some text element to your element - just append it here.
        return doc.createElement(anItem);
    }

    /**
     * Builds the text content for document
     *
     * @param name element
     * @param text content
     * @return text element
     */
    private Element createTextElement(String name, String text) {
        Text t = doc.createTextNode(text);
        Element e = doc.createElement(name);
        e.appendChild(t);
        return e;
    }

    private String generateXmlContent(Map<String, List<String>> elementMap) {
        String content;

        Document doc = build(elementMap);
        DOMImplementation impl = doc.getImplementation();
        DOMImplementationLS implLS = (DOMImplementationLS) impl.getFeature("LS", "3.0");

        LSSerializer ser = implLS.createLSSerializer();
        ser.getDomConfig().setParameter("format-pretty-print", true);
        content = ser.writeToString(doc);

        return content;
    }

    public void writeToXmlFile(String xmlContent) {
        File theDir = new File("./output");
        if (!theDir.exists())
            theDir.mkdir();

        String fileName = "./output/" + this.getClass().getSimpleName() + "_"
                + Calendar.getInstance().getTimeInMillis() + ".xml";

        try (OutputStream stream = new FileOutputStream(new File(fileName))) {
            try (OutputStreamWriter out = new OutputStreamWriter(stream, StandardCharsets.UTF_16)) {
                out.write(xmlContent);
                out.write("\n");
            }
        } catch (IOException ex) {
            System.err.println("Cannot write to file!" + ex.getMessage());
        }
    }

    public static void main(String[] args) throws CreateDocumentConfigurationException {
        XmlBuilder xmlBuilder = new XmlBuilder();
        Map<String, List<String>> map = MapFactory.mapOf(MapFactory.entry("root", Arrays.asList("element1", "element2", "element3")));

        String xmlContent = xmlBuilder.generateXmlContent(map);
        xmlBuilder.writeToXmlFile(xmlContent);
    }
}

Output after execution will be:
<?xml version="1.0" encoding="UTF-16"?>
<root>
    <element1/>
    <element2/>
    <element3/>
</root>


text:
a laboratory for creative research + community engagement
About VPL
Confluence Project
VPL in the News
NATIONAL ENDOWMENT FOR THE ARTS CHAIRMAN JANE CHU VISITED AREA
Sandglass Theater and Vermont Performance Lab give tours
By Cicely M. Eastman
The Brattleboro Reformer, June 8, 2016
GUILFORD/PUTNEY >> Jane Chu, chairman of the National Endowment for the Arts, took advantage of her time in southern Vermont last week as commencement speaker for Bennington College by visiting two unique art venues on the eastern side of the state on Thursday, then a reception with the southern Vermont arts community in Bennington on Friday. NEA grantees Vermont Performance Lab in Guilford and Putney's Sandglass Theater each welcomed Chu with a full tour of their facility followed by conversations with invited guests and members of the media, examining the importance of art in the community.
First stop: VPL. Set on over 300 acres of rolling meadows and craggy ravines, dotted with historic and modern buildings, VPL, under the direction of founder Sara Coffey, is a resource in the performing arts field for artists to focus on the creative process in relation to community. It is a place to try different visions to see what works and experiment with ideas before bringing it to an audience rather than bringing it to an audience first to see what works. Where performers and artists can find the time and space and intellectual support that only VPL can offer. One choreographer and lab artist at VPL – and guest along the tour – Ann Carlson explained how she is researching her project "Doggie Hamlet" there.
"A very, very loosely-based performance on Hamlet," as Carlson put it, she has been rehearsing the project with sheep and a herding dog, creating movement to music. VPL was instrumental in finding the right shepherd, in this case David Major of the Major Farm in Westminster West, and finding the right herding dog for her project.
Coffey's deep collaborative partnership in the community and with institutions such as Marlboro College and Guilford Sound, plus her knack of knowing who to tap for a particular task are important facets to VPL's success that, now celebrating its 10th anniversary, is gaining a reputation worldwide.
Coffey first led Chu and Alex Aldrich, executive director of the Vermont Arts Council and Chu's escort for the day – plus guests – through Guilford Sound. A separate but related facility on the grounds, it is an impressive, energy efficient recording studio that was completed in 2012, and owned by Coffey's husband, David Snyder. Warm with cherry trim harvested from the property, the studio is equipped with floating floors to eliminate vibration, insulated and separately framed rooms for bass trapping, and baffled ceilings, just a few of the elements that result in stellar sound quality. It is often used in collaboration with artists who come to VPL for their creative research.
Sara Coffey, founder and director of Vermont Performance Lab, in Guildford, Vt., leads the National Endowment for the Arts Chairman Jane Chu on a walk
Sara Coffey, founder and director of Vermont Performance Lab, in Guildford, Vt., leads the National Endowment for the Arts Chairman Jane Chu on a walk through the property on Thursday, June 2, 2016. Chu is visiting sites in Guilford, Putney, and Bennington, during a two day tour through southern Vermont. Kristopher Radder / Reformer Staff
As an accomplished musician herself, Chu was clearly impressed with capabilities and design of the studio, commenting on the "great ceilings," and upon exiting the studio said, "This is so wonderful – congratulations!"
After Chu paused for a brief group photo to tweet to her account @NEAJaneChu, Coffey led the procession through a woodsy shortcut, crossing a moss-covered bridge that brought its fair share of oohs and ahhs, then on down one side, and up the other of a ravine via stone steps to arrive at the Bullock-Ashworth House. Built in 1791, it is used to house artists during their stay. In contrast, the next stop was at the Earth House built into the side of a hill, Here stories were shared with Chu attesting to the importance of VPL in the community.
Coffey originally founded VPL after her time in NYC managing a dancing company where she saw the need for space to research productions in a studio, She said, "I love the artists we work with and I am so proud when they send their projects out to the community."
Next Putney and to the Sandglass Theater and another group photo to tweet, where co-directors husband and wife team Ines and Eric Bass ushered everyone inside the theater (that was once a livery stable) for a profound performance of "Babylon." Eric explained that what was about to be shown was still in development, just a 5-minute exercise showcasing what exactly they do there. But that "exercise" packed a powerful emotional punch. Eric, Ines and members of the Sandglass' artistic team, that includes daughters Jana Zeller and Shoshanna Bass, have been working with Vermont Resettlement Refugee Program in Burlington, interviewing refugees, getting accounts of their ordeal firsthand. Ideas are formulated, considered or discarded during the evening, and when they came together the next day they put into action their thoughts through puppets with music, actors, and visual imagery. Puppets and costumes created and designed by Ines and Jana eerily take on the emotions of confusion, exhaustion, fear and desperation through the body language shaped by the movement of the artists manipulating them, to metaphorically tell the story of hiding and running, about traversing steep terrain and carrying children through watery ways.
For Shoshanna, the youngest of the family, as she views the world and all its problems, she asks herself, "How can I help?" She hopes her part in presenting this show to the world helps.
Chu was again impressed, and observed, "This takes quite a lot of talent to take an inanimate object and project that much emotion. You must have felt it too." She added, "I love what I saw here."
A spirited dialogue followed with the Bass-Zellers and Gordon Hayward, landscape artist, and Maria Basescu, executive director of neighboring Next Stage Arts. Hayward explained that Sandglass is an extraordinary use of this tiny village that has a global reach, that Sandglass in interested using their art to portray the struggles of the human condition. Aldrich stepped in adding that the Bass' were a national treasure.
Basescu explained that Next Stage and Sandglass theaters are not in competition, but rather collaborate and support each other in a spirit of generosity as part of the community. She continued with her view on art, that in giving it your full attention, if only for a brief moment, it stops time.
Vermont has a history of a disproportionate influence in the arts with the second largest population of artists per capita in the country, and Vermonters have a strong sense of pride for their state not seen in other states with a strong sense of identity.
The Vermont arts community looks to the NEA for ideas and leadership, by identifying trends that may be explored. It also depends on the financial aid of its supporters, particularly the generous contributions of the NEA, with VPL receiving over $40,000 and Sandglass Theater receiving $30,000.
Chu lamented that in other countries the mastery of the arts is revered, but in the U.S. not so much, it is not part of our natural culture, but it is a powerful form of expression.
About the National Endowment for the Arts
Established by Congress in 1965, the NEA is the independent federal agency whose funding and support gives Americans the opportunity to participate in the arts, exercise their imaginations, and develop their creative capacities. Through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector, the NEA supports arts learning, affirms and celebrates America's rich and diverse cultural heritage, and extends its work to promote equal access to the arts in every community across America. This year marks the 50th anniversary of the National Endowment for the Arts and the agency is celebrating this milestone with events and activities through September 2016. Go to the 50th section at arts.gov to enjoy art stories from around the nation, peruse the Facts and Figures section, and check out the anniversary timeline.
2018 Major Funders
All content © 2020 Vermont Performance Lab | Site design by Meg McCarthy Design


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You are here: Main » Samsung Galaxy S10e revealed in Canary Yellow: Packing side fingerprint scanner too?
The marketing image also shows off a highlight feature of the Galaxy S10 - PowerShare. We will have to wait until February 20 to know the details.
The Galaxy S10 will support reverse wireless charging, several reports have claimed in the past few months, a feature that we first saw on the Huawei Mate 20 Pro previous year, but something most people won't get to use that much. The other Galaxy S10 models are tipped to offer in-display solutions instead. The Galaxy S10 includes a single camera in the top-right corner of its display, while the Galaxy S10+ comes with two selfie cameras which are placed in the same spot.
This could be the banana-yellow Galaxy S10E.
The latest leak should probably come with a warning though because if you have the brightness turned up on your device, this one is sure to make you squint. In terms of colour options, both these two smartphones are said to come in White, Black and Teal with a Vivid Blue option for select markets. The yellow might well be a bit more subdued in real life - here it looks positively eye-searing if I do say so myself. Below you'll see the real-deal approximate prices of the Samsung Galaxy S9 and Galaxy S9+ at launch.
The Galaxy S10 could be priced at Euros 899 (6GB/128GB) Euros 1,149 (8GB/512GB), and the Galaxy S10 Plus might have a price tag of Euros 999 (6GB/128GB), Euros 1,249 (8GB/512GB), and Euros 1,499 (12GB/1TB).


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