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Tim Wendel is a Washington DC-based author and he joined Janeane 4/9 at 9:00am to talk about his latest book, Cancer Crossings.
Cancer Crossings
A Brother, His Doctors, and the Quest for a Cure to Childhood Leukemia
LISTEN to today's show with Tim Wendel!
When Eric Wendel was diagnosed with acute lymphoblastic leukemia in 1966, the survival rate was 10 percent. Today, it is 90 percent. Even as politicians call for a "Cancer Moonshot," this accomplishment remains a pinnacle in cancer research.
The author's daughter, then a medical student at Georgetown Medical School, told her father about this amazing success story. Tim Wendel soon discovered that many of the doctors at the forefront of this effort cared for his brother at Roswell Park in Buffalo, New York. Wendel went in search of this extraordinary group, interviewing Lucius Sinks, James Holland, Donald Pinkel, and others in the field. If there were a Mount Rushmore for cancer research, they would be on it.
Despite being ostracized by their medical peers, these doctors developed modern-day chemotherapy practices and invented the blood centrifuge machine, helping thousands of children live longer lives. Part family memoir and part medical narrative, Cancer Crossings explores how the Wendel family found the courage to move ahead with their lives. They learned to sail on Lake Ontario, cruising across miles of open water together, even as the campaign against cancer changed their lives forever.
Tim Wendel is a Washington DC-based author, and one of his previous 12 books was a New York Times Review of Books "Editor's Choice." His new book focuses on the Cancer Moonshot and how more money is not the answer--it's focused dedicated individuals with creative scientific license that can make a difference in cancer research today.
Cancer Crossings (Cornell University Press, April 2018) is Tim's personal memoir, the story of the Wendel family and how they were affected by Leukemia when Tim's younger brother went through years of treatment after he was diagnosed with acute lymphoblastic leukemia in 1966. The book also weaves the history of the medical research and the "Cancer Moonshot" that bumped the cure rate from 10% up to 90% for this type of cancer. Throughout this time, the family played sports together to stay united, such as sailing across Lake Ontario, which is where the book title comes from, as they crossed the shores from NY to Canada.
Upcoming "holidays" tied to this book:
April 7 is World Health Day
April is Cancer Control Month
May is Cancer Research Month
"For as long as I have followed his work, Tim Wendel has always chosen a distinct path of intimate stories within big topics, those subjects revealed by his superb way of getting at the particular. This riveting book is no different. Bravo!"--Ken Burns
"Both informative and compassionate, Wendel's book celebrates his brother's life and serves as a testament to the commitment of doctors who went above and beyond expectations to transform a death sentence into a survivable disease. A sensitive and thoughtful excavation of a painful period in the author's life."-Kirkus Reviews
Tim's work as a journalist researching the doctors who worked with his family decades ago led to how he was able to tie their findings to his personal story in order to share it with the world, and create community for others who have also experienced such loss. His story is a special one, but a universal experience sadly, considering one in three of men and women in the U.S. will be diagnosed with a form of cancer during their lifetime, and nearly 15 million are currently living with cancer. A recent CBS News poll found that more than half of Americans say they or someone else in their immediate family has been diagnosed with cancer at some point.
"I found remarkable in talking with these doctors that a whole lot of money being pumped in doesn't always solve the problem. For example, Nixon signs the war on cancer act in 1971 and it brings in a boatload of money, but it didn't necessarily accelerate the remission and cure rates, which you really need. What you need are limited or a specific number of people who are committed to solving the problem. We make that mistake--throw more money-- when what we need is diligence, expertise, and patience. We're talking about in Leukemia a group of really just 15-20 individuals who made the difference. What I'm trying to say is, "more more more," at least with this disease, doesn't necessarily nail it down. "More" can be money, hospitals, people...but what you really need is the leaders. I focused on 4-5 doctors in my book that in my mind if you put up a Mt. Rushmore of leukemia, they'd be it."- Tim Wendel
Tim Wendel is the author of 13 books, including Summer of '68, Castro's Curveball and High Heat, which was an Editor's Choice selection by The New York Times Book Review, and his upcoming memoir CANCER CROSSINGS: A Brother, His Doctors and the Quest for a Cure to Childhood Leukemia (Cornell University Press, April 2018). His writing has appeared in Esquire, GQ, Gargoyle, The New York Times, The Washington Post and National Geographic. He's a writer-in-residence at Johns Hopkins University, where he teaches nonfiction and fiction. For more information, www.timwendel.com.
Cancer Crossings zeroes in on the pioneering medical professionals that made finding a Leukemia cure their life's work. But it also has intimate personal vignettes and family themes, with the book itself inspired by Tim's daughter's own medical residency and interest in her long passed away uncle. Throughout their family crucible, the Wendel's placed one another first: They learned to sail on Lake Ontario (crossing back and forth from Buffalo), cruising across miles of open water together, even as the campaign against cancer changed their lives forever.
The relevancy of this beautiful new book cannot be understated; One in three of men and women in the U.S. will be diagnosed with a form of cancer during their lifetime, and nearly 15 million are currently living with cancer. A recent CBS News poll found that more than half of Americans say they or someone else in their immediate family has been diagnosed with cancer at some point.
In an interview Tim will address:
How sportswriting prepared Tim for researching the resiliency of the cancer doctors profiled in this book-- in all his books he features teams of underdogs!
The Wendel family's resiliency and insistence on normal activity despite the shadow of cancer--their connection to sports (sailing, hockey) helped uphold their morale and kept the family close knit.
The life lessons of the Wendel family (Time is precious, the natural world can amaze, and not to let arguments fester)
The Cancer Moonshot and how more money is not the answer--it's focused dedicated individuals with creative scientific license that can make a difference.
Could the innovative research done in the last century take place today? Many of the experts from the 60's and 70's don't think so. Our medical system has changed in many ways that might prevent the environment in which crucial research was done that eventually led to the cure.
Why Leukemia research pioneers were called "killers," "poison pushers" and "cowboys."
They used increasing combinations of chemotherapy drugs and pioneered ways to separate blood into platelets for better deployment against the disease.
Many in the medical community thought the doctors' methods were too hard on the children.
Despite being ostracized by their medical peers, these doctors developed modern-day chemotherapy practices and invented the blood centrifuge machine, helping thousands of children live longer lives.
Tim Wendel has written a gorgeous and compelling new narrative ripe with intimate family moments, personal reflections, and the investigative journalism he is known for, this time with his lens turned on the amazing research and innovation that the doctors who treated his brother employed as they got closer and closer to the cure.
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Present state: The station building is largely unaltered apart from the removal of the waiting shelter and ticket office which have been replaced with an extension to the building. The degraded platform still remains in front of the building. A grounded van body in the former goods yard has been there for over 70 years.
Notes: The railway follows the course of the River Onny as far as Eaton station, crossing and re-crossing the river as it passes down the valley. At Eaton, where the landscape opens out, the line swung to the south towards Bishop's Castle over open countryside. Eaton was the scene of the great flood of 1886.
It is unclear if Eaton station opened with the line as it first appeared in public timetables in March 1866. Initially trains stopped only on Fridays, with a full service in operation in August or September 1866. Eaton was never a busy station, and most trains stopped only by request; however the mid morning down Friday train and the last returning up Friday train were timetabled to call. The station was temporarily closed between 27 February and 2 July 1877.
end faced the platform and the other two faced the road. A bay window overlooked the platform. An open-fronted waiting shelter, with an overhanging canopy and an adjacent ticket office, was attached to the north end of the building - which was very similar to that at Horderley.
There was a short siding on the down side at the north end of the station, running up to the end of the platform. There was no signal box; instead there was a ground frame at the south end of the platform controlling both the level crossing and access to the small yard. The station had only basic goods facilities and did not handle livestock.
Eaton had no stationmaster but was looked after by Mrs Annie Bason, a stationmistress of character who, if there were no waiting passengers, would signal the train through at walking pace. Newspapers and packets would be thrown out onto the platform while any more fragile parcels would be carefully lobbed into Mrs Bason's outstretched skirt!
Tickets from Michael Stewart. except 90 Brian Halford. Bradshaws from Chris Totty. Route maps drawn by Alan Young.
Eaton station in 1906. The timber extension to the stationmaster's bungalow comprises the open-fronted waiting shelter and the ticket office. The station building was very similar to that at Horderley but did not incorporate the ticket office.
1902 1:2,500 OS map. The only difference between the two maps is two new buildings in the goods yard to the north of the station building.
Eaton station looking south-east in the early years of the 20th century. Four wagons stand in the single goods siding. The level crossing beyond the platform was the second of two level crossings on the line, the other being at Horderley station.
Annie Bason, the stationmistress at Eaton. Note the bay window which gave her a good view of the platform and level crossing.
In February 1932 Annie Bason hands a letter to driver George Hotchkiss on the footplate of 'Carlisle'. Guard Tom Cadwallader waits at the rear of the tgrain.
Eaton station and goods yard c. 1930s. Note the grounded van body which will appear in several photographs below and is still there today.
Eaton station looking south-west c. 1930s. Although the main line clearly still sees regular traffic, the goods yard is overgrown and has probably welcomed no trains for some time. Officially the yard remained open until the closure of the line.
The Eaton station building was beginning to look dilapidated by April 1936, a year after closure and shortly before the track was lifted.
Eaton station later in 1936 after the track had been lifted.
Eaton station looking north-west in October 1949.
The degraded remains of Eaton station platform January 1985 after all the edging had been removed. This view is looking north-west. The grounded van body is seen on the right.
Eaton station looking south-east towards the level crossing in September 2009. The degraded platform is seen on the left.
Eaton station building seen from the level crossing in September 2009. An extra room has been created between the two visible gable ends and a further room has been added at the west end of the building on the site of the waiting shelter and ticket office.


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Colombian starlet Quintero reveals 'dream' of playing for Manchester United or City
Juan Fernando Quintero – Colombia
Atletico Nacional midfielder Juan Fernando Quintero has admitted that it would be a "dream" to join either Manchester United or Manchester City.
The 19-year-old has reportedly attracted interest from a number of Europe's top clubs after string of impressive performances since moving from his homeland of Colombia last year on loan to Pescara.
Yet, Quintero – who is valued at £8 million – is undecided on where his future lies, though he has revealed that a move to Serie A giants Inter would be his preference.
He told Gazzetta Dello Sport: "I like Inter because there are a lot of South Americans and I like Italy, but it's obvious, I won't say no to other top teams.
"I dream Milan, Juventus, Manchester. I will choose with my family and my agent. I'm fine at Pescara, I like the fans and there my child Maria Josè was born.
"My favourite role is trequartista, but I have to grow and keep working. My idol is Rivaldo. When I was kid I always wanted to see him playing at Barcelona, Milan and Olympiakos."

redpajama_set_name: RedPajamaCommonCrawl


How many sub-account users can we have with the Silver and Gold plans?
How many sub-accounts are included in the Silver & Gold accounts?
The Silver plan allows you to have up to 10 sub-account users.
The Gold plan allows you to have up to 100.


Digilent booth prepared to receive its visitors.
The popular Analog Discovery and the Analog Parts Kit were the center of interest at the Digilent booth. The demo shows the behavior of an Analog Devices™ AD654 voltage-to-frequency converter.
Analog Discovery voltage-to-frequency converter demo.
The new FPGA Basys 3 board for entry-level use, based on Xilinx Artix-7 and exclusively designed for the Vivado Design Suite. With the help of a Digilent peripheral podule (PmodTM AMP2), a keyboard, and a speaker, the Basys 3 is turned into a piano synthesizer.
Basys 3 piano synthesizer demo.
The Zybo-based color filter demo– image processing for advanced users.
Digilent showcased the WS 2812 addressable LED strips controlled by a chipKIT uC32 board demo – you can find it on Instructables.
I was excited to meet customers interested in either existing or upcoming products, with others saying, " I just wanted to stop by to tell you how useful your products are".
Photo from a professor interested in Digilent learning tools.
It was a great opportunity to talk about our Digilent Design Contest generally, especially about the EU section, which was launched few days ago. Stay tuned on our site for the contest, http://www.digilentdesigncontest.com/, for news about this event open to all students enrolled in a technical school, college, university, or other educational institution. You can also post your comments on our forum at https://forum.digilentinc.com/!
It was a good opportunity to meet the community collaborating with Digilent and Trenz in our joint mission to make the latest technologies available to students and instructors.


I've had a bit of a photographic dry spell recently. Here's a pic from way back in November.
Even if it's old, I like it. The dusky light, the long road, the billboard... it's got that certain atmosphere that many of your photos seem to have.
I enjoy taking pictures and this is a way for me to share one a day from my city of Belgrade. This is a personal blog that's part of the community of City Daily Photo Blogs.
I try to post pictures that I've taken that same day or the day before. Thanks for visiting.


HAMPTON, Va. — Dr. William R. Harvey and Mrs. Norma B. Harvey have gifted another $100,000 to their beloved "Home by the Sea," adding to the $3,166,327 in personal donations already on the books from the university's first couple.
This latest $100,000 gift will fund study abroad scholarships designed to expose students to limitless opportunities in a vast and ever-expanding global marketplace. Dr. Harvey, an astute businessman, recognizes that successful careers, no matter what the industry, demand a level of international awareness that is best developed through travel, discovery and exploration.
This $100,000 dollar gift for the study abroad program was preceded less than one year ago by another six-figure Harvey gift seeding an endowment of at least $3,000,000 in scholarships for students to attend the William R. Harvey Leadership Institute (WRHLI). There is an international studies component included in the program funded by that $100,000 donation as well.
The many donations from Dr. William R. Harvey and Mrs. Norma B. Harvey have included covering salary increases during lean financial periods. For example in 2011, Dr. and Mrs. Harvey gave a gift of $1 million to be utilized as incentives to increase faculty salaries. In 2011 and again in 2014, the Harveys gave donations of $166,000 and $108,403 respectively, to support wage increases for full-time permanent HU staff. The Harveys also made a generous donation to scholarships in 2001. That year they gave a gift of $1 million to fund scholarships for students interested in becoming K-12 teachers.
As a visionary, Dr. Harvey, has embraced HU founder General Samuel Chapman Armstrong's, mission to have everything at Hampton University excel. And excel it has under Dr. Harvey's leadership. The Harvey years, will grace the record books as an unparalleled accounting of mega success, not just for the HU students, faculty and staff whose lives give testimony to the results of his labor; but for the global community of stakeholders who will continually reap the benefits of his astute leadership for generations to come.
Dr. Harvey has introduced innovations, which have solidified Hampton University's stellar position among the nation's colleges and universities--seventy-six new academic programs, satellites on active missions in space, the largest free-standing proton therapy cancer treatment center in the world, 28 new structures, an increased endowment from 29 to 260 million dollars--all of what Dr. Harvey has accomplished speaks to his desire to leave the world better than he found it.


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Vattenflenört (Scrophularia auriculata) är en flenörtsväxtart som beskrevs av Carl von Linné. Enligt Catalogue of Life ingår Vattenflenört i släktet flenörter och familjen flenörtsväxter, men enligt Dyntaxa är tillhörigheten istället släktet flenörter och familjen flenörtsväxter. Arten förekommer tillfälligt i Sverige, men reproducerar sig inte.

Underarter

Arten delas in i följande underarter:

 S. a. auriculata
 S. a. lyrata
 S. a. pseudoauriculata
 S. a. valentina

Källor

Externa länkar

Flenörter

redpajama_set_name: RedPajamaWikipedia


iPod Shuffle Now Gets Ozaki iCommand !
This is an iPod shuffle available for just $18. The name of this shuffle is Ozaki iCommand that is the third generation to work with common third party headphones. Moreover, it can feature you an integrated volume controls on one side and a multifunction ability for Play, Pause and Track. The glossy black adapter can extend the shuffle by on inch to cover its power switch while extending its 3.5mm headphone port.
Talking Shuffle iPod With 4GB Storage – Apple Releases Smaller Than The Smallest !
Apple has launched its new mini iPod shuffle for music entertainment; it is a third generation iPod shuffle. You can have this iPod shuffle for just $79. This device has no buttons in its body. The storage capacity of this device is 4GB that can be used to store up to 1000 songs. It is just 2 inch long and comes in rectangular.
Want to know about iPod Tube Speaker ?


These 20 vegan brunch recipes will please any crowd! With sweet and savory options like cinnamon rolls and tofu scramble, you're sure to have a tasty morning.
It's brunch season!!! The sun is shining, the champagne is flowing, the pancakes are frying. It's truly the best time of year.
Now that I'm in my own apartment #adulting in grad school, it's time to start throwing some brunch parties. I threw together this list of 20 vegan brunch recipes, half selfishly for my future brunch parties and half for all of you.
I'm drawn to the savory recipes on this list of the best brunch recipes for vegans (and non-vegans!), but the sweet ones also look amazing. I mean, tofu scramble and veggie bacon with a strawberry scone on the side? I don't think it gets better than that.


According to AARP, one in five older Americans is the victim of financial exploitation each year, resulting in losses of $3 billion annually. Older members of the population are targeted due to their $18 trillion in assets and the likelihood that they suffer from problems with memory and judgment, making them more vulnerable.
In 2018, the president signed the Senior Safe Act to help combat elder financial abuse. The law allows financial institutions a "safe harbor" to report suspected fraud without the fear of being sued, as long as they have trained their employees in how to detect suspicious activity.
Banks are often the first to recognize fraud or financial exploitation. An unexplained withdrawal, wire transfer, transfer to a new account, or check issued to a new recipient can all be telltale signs of fraud. While banks use automatic tools and software to flag transactions, only 38 percent of baby boomers bank online. So, a teller's personal relationship with a client can be the first line of defense against exploitation.


Acu-Hoop Pro is composed of a Hula-hoop with the addition of acu-pressure balls on the inner ring of the Hoop. The acu-pressure balls of the hoop have a therapeutic effect when you use it, helping you get in shape, strengthen your abdomen and lower back while improving your blood circulation. Acu-Hoop provides a fast, fun and slimming workout. Get a great workout and massage in the comfort of your own home with the Acu-Hoop Pro!


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Salmonella outbreak confirmed on eight poultry farms
Actress Eva Green told the court she would not make an ending B-movie that compromised stunt safety
Police are searching for a missing Brighton man
You're Using the Popular iPhone App All Wrong – 8 Hacks You Need to Learn
HBO turns the last of us's biggest asshole into a delightful brute
Home/Sports/Greg Norman insists the Saudi-backed golf club's prize money will attract top players
Greg Norman insists the Saudi-backed golf club's prize money will attract top players
Many of the world's top golfers have distanced themselves from the Saudi Arabia-backed LIV Golf Invitational Series, but Greg Norman said it will prove too difficult to resist the lure of huge prize purses on offer.
The series released details of eight new tournaments in March that promised at least $250 million in prize money. The US-based PGA Tour has informed its members that they would be banned if they joined.
Several top players including Tiger Woods, Jordan Spieth and Justin Thomas have declared their allegiance to the PGA Tour, while Rory McIlroy has called the Breakaway League "dead in the water".
However, Norman told The Telegraph on Tuesday that the series will continue with or without her.
"Honestly, it doesn't matter who's playing, we're going to host the event," said Norman, who runs the new circuit.
"There is a $4 million first prize. I hope a kid ranked #350 in the world wins. It will change his life and that of his family.
"And then a couple of our events will pass and the top players will see someone win $6 million, $8 million and they'll be like, 'Enough is enough, I know I've got these guys on my back week in and week out tied hands .'"
The LIV Invitational series will kick off at Centurion Club near London in the week leading up to the US Open in June.
https://www.independent.ie/sport/golf/greg-norman-insists-prize-money-from-saudi-backed-golf-circuit-will-attract-top-players-41549563.html Greg Norman insists the Saudi-backed golf club's prize money will attract top players
Kenny Shiels says women are "more emotional" than men, as the Northern Ireland football boss slammed for explaining the "problem".
Inside Charlotte Crosby's roller coaster love life as the pregnant star settles down with Jake
Tottenham news: Son Heung-min sent Man City message as top four hopes rise
'Slap in the face' – Former Arsenal captain Koscielny smokes over Bordeaux's exile as the club reveal he will be sold this month
Newcastle sign former Liverpool goalkeeper Loris Karius on short notice
I don't like losing – Roger Federer left disappointed after Laver Cup defeat


I have a Streamer that is now using coaxial out to my DAC and then to Amp.
I would like to have minidsp between my Streamer and DAC, which one can produce a better sound quality, SHD Studio or DDRC 22D?
I will continue to use coaxial in to minidsp and coaxial out to my DAC.
Both will work fine in either ways..
The SHD Studio is a newer platform, has more output (4 x total) so you could indeed perform 2.1 subwoofer integration if you'd want.
The front panel is useful for reading the overall value.
Apart from that, these units are very similar in terms of performance.


Branded promotional products are a huge part of business but knowing why, when, who, and what is a huge part of making the right impact on your target. T-Shirts and water bottles are great give-aways for most audiences and you can procure them easily from many sources like promo product distributors and online shops. Great options for trade shows, group give-aways, and events, but, not perfect in all situations.
In the world of Direct Sales and Successful Women Entrepreneurs, if we are going to talk about firsts, then we must talk about one of America's most influential women, Mary Kay.
Time to thank your clients for a great year and show appreciation to your staff and co-workers. Let us help take the guess work out of Holiday Business Gift Giving with these twelve days of Christmas suggestions. Contact us for more details.


This page presents the Google satellite map (zoomable and browsable) of Lake Poteriteri in Southland district in New Zealand.
Geographical coordinates are -46.1072 and 167.1258 and its feature type is Lake. More information below.


An attractive guy, who is generally tall, muscular, very good at talking to girls. A cheater when in a comitted relationship. When single always looking to hookup with a new girl.
Girl2: Tylus... He told me the same thing last week!
Get a Tylus mug for your Facebook friend James.


Who Are You Looking For In Swink, Oklahoma?
Run a search by name for anyone in Swink, Oklahoma & get free white pages information instantly. Swink, Oklahoma white page directory listings include full name, phone number and address.


Identifying these indicators is not without challenges because creative placemaking efforts often have multiple and varying goals, such as increasing employment, reducing crime, and attracting or retaining residents. Community context also affects the appropriateness of particular indicators. For example, crime rates may not be considered particularly useful as indicators for communities that generally have little crime. Thus, multiple indicators are needed. In addition, considerable debate exists among arts researchers and practitioners about which indicators are best aligned with and able to measure benefits of creative placemaking efforts.5 Despite these challenges, managers and funders of creative placemaking initiatives are interested in identifying and using indicators to help determine whether outcomes of interest are moving in the desired direction.
The VALI study sought feedback about the suitability of the indicators for two purposes: to reflect livability conditions and, separately, as outcome indicators specific to local creative placemaking efforts. Researchers conducted site visits and held a convening to obtain feedback from approximately 80 participants involved in creative placemaking from 10 Our Town grantee communities.8 (For more on the NEA's Our Town grants, see Chu and Schupbach in this issue.) Urban and rural sites were equally represented in the study. Participants provided feedback by reviewing community-specific maps and bar charts based on indicator data and also discussed indicators conceptually (independent of numeric values). Participants represented approximately 50 organizations, including arts and cultural organizations, community or neighborhood organizations, and businesses and local government agencies. The study also included a focus group with five practitioners or researchers with expertise in community development and indicators who were not directly involved in creative placemaking.
Note: Based on outcome area and the lowest geographical level at which national data are available.
Participants approached this study with more interest than expected. They were very engaged with the indicators and local data validation activities throughout the process. Many asked thoughtful questions, challenged assumptions, and offered alternative proposals. Their responses suggested an appetite for measuring the impact of creative placemaking efforts. This was particularly evident at the convening of four Our Town grantees—two rural and two urban communities. Each community had two representatives—one from an arts-related partner agency, the other from a government partner agency. The mixture of perspectives, evident in both full-group and small-group discussions, provided a particularly rich exchange of ideas. Often, such "buy in" is absent and measurement activities are primarily viewed in the context of grant compliance and less often in the context of program improvement.
Participants viewed most of the indicators as representative of their respective livability dimensions. Some exceptions included single-unit housing structures (representing capacity for homeownership) and election turnout rates as signals of community attachment; and home purchase loan amounts and a measure of income distribution (Gini coefficient) as indicators of economic conditions.
Less consensus existed on the validity of indicators as measures of creative placemaking project contributions. Participants had mixed or less favorable reactions to a greater number of indicators when they considered using them to reflect their own project's intended outcomes. Less favorable were single-unit housing structures and election turnout rates (resident attachment to community), and median commute time (quality of life). Several indicators, including crime rates, household income, and unemployment rates received mixed ratings. Given the relatively small size and scope of many creative placemaking efforts in the context of the larger community, many participants believed these projects could not have much effect on these indicators.
Community context matters. The communities selected to participate in this study were diverse in many ways, including age of community; geographic region; population (age, size, density); project type (e.g., arts infrastructure, cultural district development, festivals and engagement); and project objectives. These and other characteristics appeared to affect perceptions of indicators, particularly their appropriateness as creative placemaking indicators. For example, individuals representing an urban or rural area often expressed different views about the same indicator (e.g., crime rates). However, when the responses were aggregated among all communities, these differences tended to be more muted.
Geographic scope of indicators is a principal concern. Study participants often raised concerns about using indicator data reported in large geographic areas (e.g., county crime rates) to reflect changes in smaller areas where creative placemaking projects typically focus efforts (e.g., neighborhoods). However, participants considered data reported for these larger areas useful in providing context for other indicators.
Build on the efforts of NEA, ArtPlace America, and others in the field by assembling a working group to develop and gradually refine a taxonomy of outcomes to capture the individual and collective contributions of creative placemaking efforts. Efforts such as the Cultural Data Project—or the more recent effort by Grantmakers in the Arts to establish a National Standard Taxonomy on Support for Individual Artists10—could guide development of such a classification structure. The taxonomy of cultural vitality indicators, developed by Maria Rosario Jackson and colleagues, could also offer guidance.11 A distinguishing factor of this suggestion is emphasis on outcomes for individuals and community rather than a set of indicators that largely captures inputs and resources supporting arts activities. The four livability dimensions are a start, but other dimensions, such as education, health, and diversity (sometimes noted as gaps by study participants) could be readily added. Initially, this taxonomy could be an inventory of indicators currently available and in use, but it could quickly evolve to build a menu or wish list of desirable indicators currently unavailable or untested.
The VALI Study revealed considerable interest in indicators, data sources, and data collection techniques. Creating a forum for various stakeholders to continue to engage in these and other topics could support creative placemaking activities and better measurement opportunities. The National Neighborhood Indicators Partnership, as an example of a network, sponsors a listserv enabling participants to share resources, post research inquiries, or share ideas about current or best practices. Depending on the size, scope, and interest of a potential creative placemaking community of interest, participants could work together to solve problems with gaps in research, data collection strategies, and methods. Such a network could be established with relatively low overhead, but choosing a sponsor or moderator for the network may require more consideration.
Although the size and scale of creative placemaking activities vary considerably, many projects have limited capacity and resources to undertake measurement or evaluation activities. Finding a place to post sample community surveys, local strategies for obtaining less commonly available data elements, or case studies would shorten the learning curve for many communities. The repository could include links to publicly available resources, with new links added as they become available. Materials could include case studies, such as the NEA's recently released e-storybook of case studies and lessons learned from Our Town grantees;12 studies or guidance documents on indicators; and data sets or descriptions of data sets, such as those available from local indicator projects in some communities.13 VALI Study researchers identified several projects that may have indicators relevant to creative placemaking. The NEA expects to provide this information in 2015.
Data collection and evaluation capacity concerns of local creative placemaking projects may also be addressed by encouraging partnerships with local universities or communitybased groups. The advantages of such partnerships, in many cases, is to offer low-cost support beyond what may be possible with limited funding for most local creative placemaking efforts. Depending on the type of data collection activity, it may be possible for partners to help engage residents (e.g., recent retirees) in conducting in-person community surveys or participating in focus groups to obtain data on a variety of community outcomes unlikely to be available to national, regional, or local administrative data sources.
We believe advancement on any of these fronts would lead to a broader menu of indicators, data collection strategies, and, ultimately, better data in support of creative placemaking efforts.
1. The described study received support from the NEA. The views expressed are those of the authors and should not be attributed to the Urban Institute, its trustees, its funders, or the NEA.
2. The NEA does not expect all grantees to use all of its indicators. Rather, they are intended as resources to be used where applicable. For more information, see Sunil Iyengar, "Taking Note: Learning Is the New Word for Evaluation," Art Works Blog, May 8, 2014, https://www.arts.gov/art-works/2014/taking-note-learning-new-word-evaluation.
4. See, for example, indicators developed for Minneapolis' creative placemaking effort focused on Hennepin Avenue: Anne Gadwa Nicodemus, "Track-It Hennepin 2012: Baseline Indicators and Data Roadmap" December 2012; and pp 10-24 of Appendices to "Plan-It Hennepin: Creative Placemaking for Downtown Minneapolis," http://hennepintheatretrust.org/sites/default/files/user/email/plan-it_appendices.pdf.
5. Ann Markusen, "Creative Cities: A 10-Year Research Agenda," Journal of Urban Affairs 36 (S2) (2014): 567–589.
6. E. Morley, M. K. Winkler, S. Zhang, R. Brash, J. Collazos, "The Validating Arts and Livability Indicators (VALI) Study: Results and Recommendations," (Washington, DC: National Endowment for the Arts, 2014), https://www.urban.org/research/publication/validating-arts-livability-indicators-vali-study.
7. J. Schupbach and S. Iyengar, "Our View of Creative Placemaking, Two Years In," November 27, 2012, http://createquity.com/2012/11/our-view-of-creative-placemaking-two-years-in.html; and J. Schupbach, "Creative Placemaking—two years and counting!" May 31, 2012, https://www.arts.gov/art-works/2012/creative-placemaking-two-years-and-counting.
8. Anne Gadwa Nicodemus, who served as an advisor to this study, facilitated portions of this day-long convening.
9. Elaine Morley et al, "The Validating Arts and Livability Indicators (VALI) Study: Results and Recommendations," http://arts.gov/sites/default/files/VALI-Report.pdf.
10. Alan Brown et al, "A Proposed National Standard Taxonomy for Reporting Data on Support for Individual Artists," (Seattle, WA: Grantmakers in the Arts, 2014), https://www.giarts.org/article/support-for-individual-artists-research-initiative.
11. Maria Rosario Jackson et al, "Cultural Vitality In Communities: Interpretation and Indicators," (Washington, DC: Urban Institute, 2006), http://www.urban.org/publications/311392.html.
13. The Boston Indicators Project is a well-known example. It includes a section of indicators on cultural life and the arts. See http://www.bostonindicators.org/.
Elaine Morley, PhD, is a senior research associate in the Urban Institute's Metropolitan Housing and Communities Policy Center. She has more than 25 years of experience in performance measurement and in conducting evaluations of a wide variety of programs. As part of the Urban Institute's Public Management Program, she has participated in projects addressing performance measurement practices for nonprofit organizations and for federal, state and local government entities. She has contributed to numerous publications on performance measurement for such entities, including guides for practitioners. She received a PhD in social science from Syracuse University.
Mary Kopczynski Winkler is a senior research associate with the Center on Nonprofits and Philanthropy at the Urban Institute. Since coming to the Urban Institute in 1995, Ms. Kopczynski Winkler has been actively involved in various projects focused on strategic planning and assistance in the development of performance measurement systems for government agencies and nonprofit programs. In addition to her work with the NEA to validate indicators of community livability for creative placemaking, Ms. Kopczynski Winkler was principal investigator for the Urban Institute's work with OPERA America and five major national arts service organizations to develop a system for building the research and analysis capacity for the performing arts. Ms. Kopczynski Winkler graduated from Bryn Mawr College and has an MPA from American University. She is also an accomplished accordionist.


for $375,000. The lot size is 18.692 Acres.
Rolling pasture ready for a housing subdivision, RV Park, or residential homesite. County Road on 3 sides with over 2290' of county road frontage according to survey. Electricity along front of property. Scattered trees and area to build a pond.


potentially nervous: nuage overexposes himself as he fights this rainbow's attempt to turn him into a pot of gold.
nuage overexposes himself as he fights this rainbow's attempt to turn him into a pot of gold.
after all, rumor has it that sai baba protects the chosen ones from wealth.
Good to see you guys again! Is his leg ok? Is he ok? Are you ok?
glenna, you sweet thing! thank you for asking! we're ok. his leg seems to not bother him at all. but his tumor is getting bigger. i posted about it above this last post. i hope all is well with you and yours!!


text:
<?php
include('../includes/add-venue-function.php');
?>

Venue Management

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		if($_REQUEST['action'] == "add") {
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		}
		elseif($_REQUEST['action'] == "edit") {
			require("pages/main/experts/pages/edit_appointments.php");
		}
		?>

redpajama_set_name: RedPajamaGithub


text:
Au premier mot limpide
Color lithography on Arches paper
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Max ErnstAu premier mot limpide
Artwork information
Proof(s) of authenticity
Lithograph sold with a certificate of authenticity issued by the publisher Mourlot.
Color lithograph of Max Ernst. Rare printer's proof on Arches paper. Lithograph printed by Mourlot in 1969.
This lithograph is a reproduction of a mural painting made by Max Ernst in the house of the poet Paul Éluard in 1923. It was not until the late 1960s that the original painting was rediscovered under a wallpaper and transferred to canvas. An indecipherable work, which hides many mysteries...
Max Ernst was born on 2 April 1891 in Brühl, Germany. He was a painter, draughtsman and sculptor whose work was linked to the Surrealist and Dadaist movements. In 1948 he became a naturalized American and ten years later he became French.
Max Ernst is the son of the painter Phillipp Ernst and Louise Kopp. In 1909, he enrolled at the University of Bonn to study philosophy, but he soon abandoned this training to devote himself fully to the practice of art. In 1911, he met the members of the "Blaue Reiter" with whom he exhibited in Berlin in 1913. The same year, Max Ernst met Guillaume Apolinnaire and Robert Delaunay.
During the First World War, he went to the Russian front to fight for the German artillery, then he fought in France. In 1918 he married Luise Straus, an art historian. In 1922, the couple separated. Luise Strauss made a career in journalism and died in a Nazi concentration camp during the Second World War.
His Dadaist and Surrealist period
In 1919 Max Ernst went to Munich to meet Paul Klee, and it was there that he created his first paintings, collages and prints by hand. He also experimented with different media and materials. In 1920 he founded a collective: "Zentrale W/3" with Jean Arp and Baargeld. In February 1920, they published a new magazine entitled "La Chamade", with several contributors from France: Paul Éluard, Louis Aragon, André Breton.
The second Dada exhibition in Cologne begins in April 1920 at the Winter brewery. Max Ernst exhibits the collective collages made with Jean Arp and renamed: "FaTaGaGa" (Fabrication de Tableaux Garantis Gazométriques). But this exhibition causes a scandal, it is closed by the police, so Max Ernst quarrels with his father for this reason.
Together with Baargeld, Max Ernst organised the Dadaist International Premiere in Berlin in June 1920. A few weeks later, while on holiday in Tarrenz in the Tyrol, Max Ernst met Tristan Tzara.
In 1921, he exhibited in Paris with the Surrealist group at the "Au Sans Pareil" Gallery. The following year he moved to Paris to live with Paul Éluard and his wife. He had various small jobs, but continued to paint.
In 1925, Max Ernst tried his hand at "rubbing": he let a pencil lead run over a sheet of paper placed on any surface, parquet, tiles or other. This artistic technique makes more or less imaginary figures appear, it can be similar to the automatic writing of surrealist writers.
In 1926, Max Ernst collaborated with Joan Miró in the creation of sets for Serge de Diaghilev's shows. With the precious help of Joan Miró, Max Ernst developed a new technique: the "scraping" of the pigment directly onto the canvas. This collaboration provoked indignation among the Surrealists, André Breton even said that they "made a pact with the powers of money. ».
In 1929, he returned to the practice of collage and published several collage-novels.
In 1934, he tried his hand at sculpture inspired by Alberto Giacometti.
In 1937, he met Leonora Carrington with whom he settled in Saint-Martin-d'Ardèche.
In 1938, Peggy Guggenheim acquired several works by Max Ernst, which she exhibited in her London art gallery. In the same year, Max Ernst left the Surrealists because André Breton wanted him to convert to Trotskyism and stop seeing Paul Éluard.
His American period
At the beginning of the Second World War, Max Ernst was arrested as an "enemy alien". Together with Hans Bellmer, he was interned in the Camp des Milles near Aix-en-Provence. Later, Peggy Guggenheim helped him to leave the country. He arrived in the United States in 1941, welcomed by her son Jimmy. Peggy and Max travelled the country together and were married in 1942, but the marriage was short-lived.
Then Max Ernst moved to New York, where he met Marcel Duchamp and André Breton. In New York, Ernst tried his hand at "dripping", a technique later adopted by Jackson Pollock. It consists of leaving paint colour on the canvas from a perforated container.
In October 1946, he married Dorothea Tanning in California and the couple moved to Sedona, Arizona. Very inspired by the nature of this region, Max Ernst used it as a source of inspiration for his sculptures.
In 1948, he became an American citizen.
His return to France
In 1950, Max Ernst returned to Europe to travel and exhibit, notably in Paris.
In 1953, he set down his luggage in Paris and opted to buy a studio in the impasse Ronsin.
In 1954, he won the Grand Prize at the Venice Biennale.
Between 1955 and 1963, he lived in Huismes in Indre-et-Loire. During this period, he produced works marked by Touraine.
In 1958, he became French and in 1959, he received the national prize of arts and crafts. Retrospective exhibitions on Max Ernst are held in Chicago, New York, Zurich, London and Cologne.
In 1963, he bought a property in the Var.
Max Ernst died in Paris on 1 April 1976.
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Au premier mot limpide, 1969
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text:
Connecticut Settles School Desegregation Case
By Jacqueline Rabe Thomas // CTMirror.org • Jan 10, 2020
Elizabeth Horton Sheff speaks to reporters outside the courthouse Friday after reaching a settlement with the state in the school desegregation case. With her are Attorney Martha Stone, Gov. Ned Lamont and Attorney General William Tong.
State officials agreed Friday to enroll more than 1,000 new students in magnet schools as part of a milestone agreement in the decades-long Sheff vs. O'Neill school desegregation case. The agreement dedicates 600 of those seats to the more than 12,000 children who attend struggling, segregated schools in Hartford.
The agreement with civil rights attorneys also includes a commitment by the state to overhaul how it awards seats in magnet schools. That plan will address the backlog created when thousands of children were turned away from integrated schools and left on the waiting list each year.
The settlement follows six years of stagnation in the number of children from Hartford attending integrated schools – and almost 24 years after the Connecticut Supreme Court ruled that Hartford's minority children, "suffer daily" from inequities caused by severe racial and economic isolation.
Civil rights attorneys were prepared to drag the state back to court for not complying with the high court's order after efforts stalled under the administration of Gov. Dannel P. Malloy.
Under the administration of Gov. Ned Lamont and Attorney General William Tong, the civil rights attorneys were able to find middle ground.
"Look, this is a big deal. We've taken a big legal cloud off our shoulders, but that is no reason for us to slack off now. This is a wake up call," Democratic Gov. Ned Lamont said during press conference outside the courthouse.
While this settlement only affects Hartford-area schools, Lamont hinted he is considering ways to desegregate schools in other areas of the state. Turning to Elizabeth Horton Sheff – the Hartford parent who sued the state in 1989 – Lamont said, "You lit a fire and we are going to take this around the state."
In the courtroom, Hartford Superior Court Judge Marshall Berger was pleased a path forward has been finally been forged.
"This is a great improvement," he told the parties while picking up his pen to sign the 29-page agreement. "Certainly, it's the children who win."
Elizabeth Horton Sheff addressed the court Friday. She is the original lead plaintiff in the case, which was filed in 1989.
Credit Jacqueline Rabe Thomas / CT Mirror
The settlement is also expected to blunt challenges in federal court about the way the school choice lottery is administered. Parents suing the state in those cases believe the state's lottery is enforcing discriminatory racial quotas because it is designed to limit black and Hispanic enrollment to 75 percent of a magnet school's enrollment.
The Pacific Legal Foundation, which is representing the Hartford families in those cases and have argued against affirmative action in lawsuits across the country, did not respond to requests for comment Friday.
What's in the settlement?
In addition to the 600 seats for Hartford children, 500 seats will also be made available for children from surrounding suburban towns.
These seats will largely come from the creation of additional preschool classrooms at existing schools and a middle school opening at Goodwin College's Riverside Magnet School in East Hartford, which has the space to offer additional grades.
Funding for the additional magnet seats and other efforts will come from a bucket of funding the state legislature and governor have already set aside for this settlement in the adopted state budget. The price tag is modest – less than $2.5 million – since no additional magnet schools will be constructed.
Funding will also be used to entice suburban school officials with declining enrollments to offer more Hartford residents a spot in their schools. Historically, suburban towns have not offered many seats to city students, with a common reason being cited that state reimbursement didn't cover the cost to the district.
The parties also agreed to figure out a long-term path forward.
This school year, 3,481 of the 5,572 Hartford children who applied were offered a seat in a desegregated school – a 62% success rate. The settlement requires the state to figure out how to offer more opportunities for Hartford students to attend magnet schools.
"It's one of the most significant pieces of this agreement," said Martha Stone, one of the lead attorneys for the plaintiffs in the case and head of the Center for Children's Advocacy. "It moves the needle forward."
Duell Ross, an attorney with NAACP Legal Defense Fund, told a packed courtroom what the settlement means.
"It's important that we remember there are real black and brown kids who benefit," Ross said.
Killingly Restores Offensive Mascot Name In Unprecedented School Board Vote
By Frankie Graziano • Jan 9, 2020
Killingly High School sports teams will once again be known as "Redmen" despite a long battle to ditch the name that's offensive to Native Americans.
State College Mental Health Task Force Mulls Recommended Improvements
By Nicole Leonard • Jan 8, 2020
Russ / Creative Commons
Mental health professionals on college campuses say more students year over year are seeking services for new and ongoing mental health and substance use issues. They say it's not a bad thing that students are being proactive about their mental health -- but resources are strained.


Doctors and hospitals, what parents want from them!
Give us Respect - We may not have as much knowledge as the doctors and hospitals, but no one knows our children better than we do. Work with us and don't see us as an obstacle in your way.
Give us straight answers - Tell us the truth, and if you don't know what that is...let us know this too! Don't tell us what you think we want to hear, or what you want us to know to decide things your way.
Work with us - Doctors and Hospitals should be fighting with us against what is ailing our child, not against us, and not undermining our rights as a parent. We are all here for the common good of the child.
Give us more options, not fewer - We don't always want to be tied down with what has always been done. If we look for alternative treatments it may be because you, as our doctor has stopped offering us any. Think outside the box, and we will listen!
Treat us like individual human beings - We as parents, and our children are all unique and have strenghths and gifts you may never about. We are not another case, taking up another bed.
respect our love and faith for our child - Our love for our child has no limits, and endures past any diagnosis, illness or treatment. Love can perform miracles, so don't be surprised if we put more faith in our love, than in you, as a doctor.
Give us understanding - Memories, may soon be all we have left our beloved child and we want as many of those as what we can get...these are not small things for us. Understand how precious one more hour or one more day, is for us.
You could be wrong - We have worked with many doctors over the years a lot of them underestimated, misinterpreted or misdiagnosis our children, yet we are still willing to work and listen to them. All we want is for doctors to take off the 'Superman" cape before talking to us, and talk to us like equals.


text:
Q: UI-sref with directive click event Is there a way to use ui-sref with a directive that has a click event inside of it?
I want to PREVENT the ui-sref from firing (but still use the ui-sref as an attribute in the directive). In short, I will fire a $state.go inside my directive, but I don't want it to fire by the ui-sref:
let directive = {
    restrict: 'A',
    scope: {
        upgradeUser: '=',
        upgradeType: '@',
        uiSref: '@'
    },
    controller: function($scope, $element) {

        $element.on('click', function() {
            // prevent ui-sref and check for permissions, if no permissions, do a totally different thing

            if (permissions) {
                $state.go($scope.uiSref)
            } else {
                upgradeService.launchDialog($scope.upgradeUser, $scope.upgradeType)
            }
        })
    }
};

return directive;

I've tried passing in event and doing event.preventDefault but that didn't appear to work.

redpajama_set_name: RedPajamaStackExchange


text:
Q: not able to install g++ This is what I get when I run sudo apt-get install g++:
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ubuntu-extras-keyring is already the newest version.
libpam0g is already the newest version.
libclutter-gtk-1.0-0 is already the newest version.
libgpg-error0 is already the newest version.
libdbusmenu-glib4 is already the newest version.
gir1.2-atspi-2.0 is already the newest version.
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lightdm-remote-session-uccsconfigure is already the newest version.
libcolorhug1 is already the newest version.
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libwebkitgtk-3.0-common is already the newest version.
system-config-printer-gnome is already the newest version.
libgcc-4.7-dev is already the newest version.
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python-gi is already the newest version.
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gir1.2-gst-plugins-base-1.0 is already the newest version.
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0 upgraded, 0 newly installed, 0 to remove and 0 not upgraded.

How do I install g++ now?

A: It means that g++ is already installed!!
Linux comes with gcc already installed, so to compile your programs just use
g++ <filename>

If that doesnt work try
gcc <filename>

That should work.

A: Run:
sudo apt-get update

You should always run that before installing or upgrading packages on the command-line (unless you've run it very recently). It fetches information about what packages are available in what versions from where.
You may simply be able to install g++ now,
Then try installing g++ again:
sudo apt-get install g++


text:
Q: R Plotly Animated dumbell chart: Subscript out of bounds I am attempting to make an animated dumbbell chart in plotly with R.
Following the example here and using the info here, I came up with the following code:
df <- data.frame(
  category=c('a', 'b', 'c', 'd', 'a', 'b', 'c', 'd'),
  year=c(2000, 2000, 2000, 2000, 2001, 2001, 2001, 2001),
  val_a=c(1,2,2,1,2,5,6,8),
  val_b=c(3,5,4,7,1,9,2,12)
)

plot_ly(data = df, frame = ~year) %>%
  add_markers(x = ~val_a, y = ~category, name = "Val_A", color = I("red")) %>%
  add_markers(x = ~val_b, y = ~category, name = "Val_B", color = I("blue")) %>%
  add_segments(x = ~val_a, xend = ~val_b, y = ~category, yend = ~category, showlegend=F) %>%
  layout(
    title = "Val A v Val B",
    xaxis = list(title = "Value"),
    yaxis = list(title = ""),
    margin = list(l = 65)
)

Unfortunately this throws the following error:
Error in which(idx)[[1]] : subscript out of bounds
18.
registerFrames(p, frameMapping = frameMapping)
17.
plotly_build.plotly(instance)
16.
instance$preRenderHook(instance)
15.
createPayload(x)
14.
toJSON(createPayload(x))
13.
widget_data(x, id)
12.
htmltools::tagList(container(htmltools::tagList(x$prepend, widget_html(name = class(x)[1], package = attr(x, "package"), id = id, style = style, class = paste(class(x)[1], "html-widget"), width = sizeInfo$width, height = sizeInfo$height), x$append)), widget_data(x, id), if (!is.null(sizeInfo$runtime)) { ...
11.
toHTML(x, standalone = standalone)
10.
as.tags.htmlwidget(x, standalone = TRUE)
9.
htmltools::as.tags(x, standalone = TRUE)
8.
isTag(ui)
7.
rewriteTags(x, function(uiObj) { if (isTag(uiObj) || isTagList(uiObj) || is.character(uiObj)) return(uiObj) else return(tagify(as.tags(uiObj))) ...
6.
tagify(x)
5.
renderTags(html)
4.
save_html(html, file = index_html, background = background, libdir = "lib")
3.
html_print(htmltools::as.tags(x, standalone = TRUE), viewer = if (view) viewerFunc)
2.
print.htmlwidget(x)
1.
(function (x, ...) UseMethod("print"))(x)

However, if you run the plot code with either the markers or the segments, it works fine. Why then can I not seem to combine them?

A: If you remove the trace names your code works! (name = "Val_A")

A: An alternative to @Madhu's answer is to add a name for your add_segments with name = "Val_C". This way, each add_X has its own name and Plotly is not confused. Not intuitive but I had the same problem and this worked. You can then of course suppress the name and legend entry with
showlegend = FALSE and hoverinfo = 'none'.


The beginning of the 21st century has been defined by modern history being made in real-time, thanks to an oversaturated 24-hour news cycle. Mediated through flickering screens and the speed-of-light cadence of social media posts, several virtual imprints of overlapping realities exist in a palimpsest of a post-factual age, information wars and the mis-interpretation and de-contextualization of unfolding events. Despite the omni-channel overproduction of news and reporting, blind spots occur in equal volume. Naturally, certain corners of the world remain heavily unreported with many happenings cloaked under the opaque veil of reticence. Political forces regularly intercept and steer any attempts to document.
Back in 2016, a Dutch digital design collective operating under the moniker Metahaven delivered a radical meta-offering, The Sprawl (Propaganda about Propaganda). Here, the disruptive power of found-footage and its circulation in certain contexts is demonstrated to have major influence on geopolitical situations, especially when filtered through obscure channels. Besides manifesting how reality can be severely mis-perceived when flattened into suffocating confines, The Sprawl also tackles how certain clips can wield the unmatched capacity to control when tainted by ideology: especially when one tiny haphazard piece of found-footage can in turn subvert and spin a meticulously curated narrative.
The Sprawl is enlightening insofar as it displays that the items that remain omitted— those edited out of the reality-in-the-making— are in fact the most crucial. Naturally, the fundamental question of reality tears out a multidimensional rabbit hole, beginning with Plato's notorious allegory of the cave and reaching to Baudrillard's notion of the hyperreal: simulacrums and simulations. Aside from the arbitrariness of mediated reality— a plethora of simulacrums breeding diverse and contaminated versions of reality— the film medium remains a viable form to challenge subjective perception. This holds true even in a less meta-textual layer, as exhibited by The Sprawl. The medium remains a double-edged sword nonetheless.
Meteors, a black and white feature-length debut by Turkish filmmaker Gürcan Keltek, embarks on a different route. Opting for a less radical approach, Keltek avoids disrupting the perception of reality by assuming the role of an archivist. His films is comprised of intercepted found-footage videos being live-streamed by locals in the southeast region of Turkey, from cities with imposed militant curfew. This cluster of anonymous clips, CCTV footage and news reports establish a patchwork of events did not receive proper treatment in major news outlets, and was hardly registered beyond the borders of the country.
The events in question surround an internal affair in Eastern Anatolia, stemming from a rather obscure albeit not nontrivial mission designed to dismantle the Kurdistan Worker's Party with the help of six generals and ten thousand troops. After two-and-a-half years of Turkish-Kurdish negotiations, Turkey deployed its largest military operation against the Kurdistan Workers' Party (PKK) and Kurdish autonomists, a large-scale crackdown ignited by the murder of a soldier believed to be executed by members of the PKK.
The military operation surprised locals as they became trapped inside their dwellings before being properly briefed on the situation or its direct and indirect implications. More importantly, the streets and neighborhoods where locals used to roam freely became a battleground in a country hurtling to the precipice of civil war. Keltek makes sure to clarify that several journalists were fired for their attempts to report on the events, implying a larger, government-ordered cover-up. The Turkish filmmaker thus preserves authentic footage with obvious historic value— the event might have been otherwise erased from the collective consciousness of the country's history.
A fine line separates archivist from activist in the case of explosive material such as Keltek is handling. Instead of inciting, the filmmaker stays in the background, locked in an observational mode. To cross the line would imply an agenda which Keltek, from his current position, lacks in the political sense. Keltek disclosed that his intention was not to make a political film, although the nature of the events mean politics cannot be avoided either. However, Keltek's strategy in narrative-building omits the event, eschewing direct references from the beginning and thus the six-chapter structure becomes clear only in hindsight after the revelation of crucial information. For example, in the lyrical prelude titled "Hunters," a group of men emerges from the mountains to hunt down wild goats once revered as holy creatures in a stealth attack, a transgression mirroring the ambush of civilians in Eastern Anatolia. Depicted in a seemingly contextually unanchored and plot-less fashion, the act turns into an allegory in retrospect.
The six-episode structure establishes an innocuous parallel, shadowing the various stages of the military conflict. Keltek's narrative and formal strategy refrains from usual reporting-based codes of documentary filmmaking; instead, Meteors unfolds on a spectrum of essayistic documentary overlaid with elements from fiction filmmaking. Meteors thus takes on the role of an organic archive, a capsule storing authentic images from the field before they become wiped out from individual memory. It preserves not the actual conflict but its peripheral signs and imminent consequences. The film medium, once revered as a temple of memory, provides this former service, embalming what others might prefer to fizzle out into the ether.
Keltek presents an antithesis to heritage films in the sense that Meteors obviously circumvents nostalgia, undermining the official narrative the ruling apparatus may want to push. The film emerges in opposition to the institutionalized top-bottom hierarchy, which tends to be an open route for propaganda. The snippets of found-footage Keltek compiles are crowd-sourced and myriad in origin, offering a variety of perspectives on a single event, thus suppressing subjectivity and ruling out one invisible all-controlling hand.
Furthermore, the majority of recorded proceedings are not reconstructed but instead present the actual unfolding of events captured in real time— micro-processes or fragments of modern history in the making— a spectacle of intra-national violence from which foreigners should be excluded. However, the panorama of intimate viewpoints and recorded testimonies encapsulates a dark corner of public memory through which film can enter into a collective consciousness exceeding national awareness. Ultimately, Meteors is a trauma film in which cinema serves as an archive for memory, an event preserved as a testimony and experience to be lived through. Cinema in Keltek's offering functions as a tool for circulating memories vis-à-vis a historical narrative of an event that was intended to be kept secret.
Keltek downplays the reporting aspect of the film, privileging archive over activism as he carefully nestles his authentic found-footage into a larger narrative transcending the immediacy of the military conflict. Actress and writer Ebru Ojen provides voice-over from her latest novel The Vaccine while also interviewing people, mostly children, as they experience the lockdown of a city. The filmmaker stretches the political layer into the social and slowly drifts towards an even greater design as he lays new meanings over a disembodied patchwork of audiovisual fragments. He assimilates the formalism of found-footage material— the docu-reality— with experimental narrative strategies from fiction filmmaking to produce a complex work of universal value and relevance. The non-figurative imagery, rendered in the same monochrome aesthetics as the phone-filmed morsels, veers back to the originally established atmosphere, trading allegory for contemplation. Keltek borrows from the inventory of so-called slow-cinema to lyrically elaborate the essayistic tendencies of Meteors, a profound counterpoint to the real-life footage.
The Turkish director, however, does not engage in any foul play by cloaking a political statement under the aesthetic veil of cosmic contemplation. The political, social, artistic and metaphysical planes rather permeate and contaminate each other. The small-scale arc of a local military conflict harboring significant consequences extends into a greater design, encapsulating mythology. The political realism of bleak authentic footage finds a counterweight in the lyrical textures of pagan realism as primal consciousness— a perception of the world is leveraged against perplexing and invasive modern-day statecraft.
By tapping into a deeper configuration of the collective mind, Meteors' originally social-political valences transcend into local folklore. Mythology and superstition are usually employed when rational capacity fails to grasp certain events, locating and extending meaning. Keltek vertically stacks layer after layer— military intervention, political motivation, social intrusion, intervention of a higher order— a chain reaction impacting a precisely delineated region. The landscape becomes the center point, the protagonist for collective consciousness and myth, a mirror of national imagery. The overlapping layers of meaning embroidered into a hybridizing narrative, combined with rich formalistic textures, transform Meteors from a trauma film unfolding in real-time into a significance-laden offering that ritualizes storytelling and mythology in the same stroke— secular and sacral dimensions personified materially and immaterially in the landscape and nation respectively.