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#110. Robin Greenwood writes about "The Art of the Real", Then and Now
1968 MOMA installation of "The Art of the Real"
"Take a giant step…" as the great Taj Mahal once sang… or was it the Monkees: "Take a giant step outside you mind"?
In April 1969, as a young art student at Wimbledon School of Art in London, I went to see a big show of abstract art at Tate Gallery: "The Art of the Real; An Aspect of American Painting and Sculpture 1948 -1968". This was very new and exciting to me back then, and in its way, as I will explain, it still is.
The show originated and was shown in 1968 in MOMA, New York, where it was devised and directed by E. C. Goossen, and subsequently presented with the help of the Arts Council of Great Britain to the Tate Gallery, London. Here is the opening to Goossen's introduction:
"To propose that some art is more "real" than other art may be foolhardy. Yet many American artists over the last few years have made this proposal by the nature of their work. They have taken a stance that leaves little doubt about their desire to confront the experiences and objects we encounter every day with an exact equivalence in art. That they are shaping this equivalence by modifying forms inherited from the history of modern abstraction may or may not be an accident. Certainly there seems to be a growing distrust of idealism and its unfulfilled promises. The "real" of today as it is posited by this new art has nothing to do with metaphor, or symbolism, or any kind of metaphysics. It is not the ideal Hegelian essence that Hans Hofmann was invoking several decades ago in his essay, "The Search for the Real". It does not wish to convey the notion that reality is somewhere else. Neither is it related to the symbolic reality Malevich thought he had discovered when, in 1913, he first isolated his black square on a white field. Malevich indeed had produced a real square, but he employed it as an element in the construction of a precariously balanced, ideal order with which he proposed to bring forth a "new world of feeling". Today's "real", on the contrary, makes no direct appeal to the emotions, nor is it involved in uplift. Indeed, it seems to have no desire at all to justify itself, but instead offers itself for whatever its uniqueness is worth – in the form of the simple, irreducible, irrefutable object."
The essay concludes five pages later, thus:
"The gradual divorce of the physical means of art from expressionistic associations has been accompanied by a distinct change in attitude towards what art should attempt. Expressionism, even at its most abstract, continued many aspects of representational art, and constructivism, despite its purist look, was basically nostalgic in its search for meaning through traditional methods of composition. The new attitude has been turning art inside out: instead of perceptual experience being accepted as the means to an end, it has become the end in itself. The Renaissance artist laboured over perspective in order to create an illusion of space within which he could make believable the religious and philosophical ideals of his time; the contemporary artist labours to make art itself believable. Consequently the very means of art have been isolated and exposed, forcing the spectator to perceive himself in the process of perception. The spectator is not given symbols, but facts, to make of them what he can. They do not direct his mind nor call up trusted cores of experience, but lead him to the point where he must evaluate his own peculiar responses. Thus, what was once concealed within art – the technical devices employed by the artist – is now overtly revealed; and what was once the outside – the meaning of its forms – has been turned inside. The new work of art is very much like a chunk of nature, a rock, a tree, a cloud, and possesses much the same hermetic "otherness". Whether this kind of confrontation with the actual can be sustained, whether it can remain vital and satisfying, it is not yet possible to tell."
E.C.G.
This, I think even in retrospect, was pretty good, and was the start of something important for me about how to make "abstract" art, and how to make it "real". I had by then already abandoned any connections with figurative painting and sculpture of any kind.
Here are some of the works that I saw at the Tate:
Carl Andre, "Cedar Piece", 1960 – 64
Morris Louis, "Beta Theta", 1961
Antoni Milkowski, "Triple", 1968
The three big minimal artists from that period, Carl Andre, Donald Judd and Robert Morris were the ones that interested me most. Morris died quite recently, after a rather wasted career; Judd died in 1994; Andre is still going at 83. I've seen lots of their work over the years, but would not look at it much any longer. But Judd and his "Marfa, West Texas" project has always fascinated me. These pictures I find compelling and convincing. He quite rightly refused to call his work sculpture. It is not – it's architecture, and he was very, very good at it.
Donald Judd, some of his beautiful Marfa installations.
And his equally beautiful New York cast-iron apartment building:
For abstract sculpture, where does this go? Nowhere. This is all architecture. BUT – we do now, at last, and not entirely unconnected to this, have a very strong idea about how abstract sculpture is really going to do the job, and it will be – it already is – a really great discipline entirely in its own right.
Likewise, for abstract painting now, where does Patrick Heron's work go? Nowhere either, is my best guess, though many, many people will disagree, because they love Heron's work so much. I've blown hot and cold about it over the years, and after this show I was pretty cold, but there are always things to think about and appreciate with Heron – not least some of his excellent writing.
So, on Thursday 18 October we set off for the press preview – followed by the opening on the same evening – of the Heron show at Turner Contemporary, Margate – having been transferred from Tate St. Ives, where we did not see it. And Margate, would you believe, was looking absolutely beautiful that day, with a stiff, north-easterly wind kicking up a mass of white horses, right out to sea as far as the eye could see, and as far as the equally-ravishing view of the massive London Array somewhere beyond the horizon.
"…colour is both the subject and the means; the form and the content; the image and the meaning, in my painting today," says Heron in 1962.
Patrick Heron, "Red Garden Painting: June 3 – June 5: 1985", © estate of Patrick Heron, all rights reserved, DACS 2018
Well, let's have a look. Big claims have been made here on Abcrit for the quality of "Red Garden Painting", 1985, and I have tended to support them, because in reproduction, on a small scale, this and other similar works look rather good. In full size, on the wall, it looked very sloppy and shambolic. Nothing much stuck with me, beyond a rather scrappy design and an insistence upon a pure, crude colour-scheme. Let's say straight away, it's an abstraction from a figurative idea – a garden, of course – and this cannot any longer be addressed as a way and means to take forward abstract painting. Modernism, colour, design, drawing are not ways to move on and get further into abstract painting now, if they ever really were. They were and are only ways to stay where you are now, or go back – to something we now know too much about, and are thoroughly underwhelmed by. Well, I am.
There are similar but worse paintings in the show (until 6 January 2019) than this "Red Garden Painting", including: "10th-11th July 1992"; and "21st December 1991", as examples. Even worse are works from the seventies like "Big Complex Diagonal with Emerald and Red: March 1972- September 1972". I cannot get on with this set of work at all.
Patrick Heron, "Big Complex Diagonal with Emerald and Reds: March 1972 – September 1974", © estate of Patrick Heron, all rights reserved, DACS 2018
Better are Heron's early figurative paintings, such as the Braque-like "Christmas Eve: 1951"; or the horizontal stripes of "Lux Eterna: May – June 1958"; and "Green and Mauve Horizontals: January 1958".
Patrick Heron, "Christmas Eve: 1951", © estate of Patrick Heron, all rights reserved, DACS 2018
Patrick Heron, "Lux Eterna: May – June 1958", © estate of Patrick Heron, all rights reserved, DACS 2018
For me, the best painting in the show is "Interior with Garden Window: 1955. It's figurative, and it's out of Matisse, of course, and it's pretty obsessed with colour, but I do like it, and I think the organisation is inventive.
Patrick Heron, "Interior with Garden Window: 1955", © estate of Patrick Heron, all rights reserved, DACS 2018
When I mentioned this to Mel Gooding, he said he thought of it as being wholly abstract. I don't really see how that can be the case, because it has such a strongly-abstracted composition. But now we know – don't we, surely? – that "abstraction", and in particular, "modernist designed abstraction", is in no way taking us forward. We know that from doing Brancaster Chronicles. The claim for progress by the kind of modernism preached by Heron and others cannot be made to stick at the job any more.
And I think I should also mention that the curation of this show, that received mainly – though not wholly – praise from the critics, made no sense to me at all. You could have switched over all the paintings in the four or five "thematic" rooms in the gallery without making any difference to the point of the show at all – assuming it had one. It seemed to me a rather futile exercise, even when extracts from Heron's own texts were added to the mix.
Alan Gouk, "Gaucin Night II", 1992
Claims for the viability of this kind of modernism will continue to be made, of course. They are, for example, made over and again by Alan Gouk and others, and he repeated it in his recent show at Felix and Spear, London W5 – Alan Gouk: A Retrospective: Part II. This was on from 6 October to 3 November. I did not think it was as good as Part I from last year, but Alan had big ideas. I was not five minutes through the door before I got a lecture on how important "Gaucin Night II" was in his oeuvre, and how I should go about the business of looking at it, standing back (as far as one can in such a tiny gallery), seeing the bigger picture. But to me it looks dated, a semi-figurative composition on a background, with that central bottom purple showing up rather badly the limitations of the composition, and the whole "running-out" of the "scheme" in this kind of horizontal, blocky, layered design rather giving things away. "Through the Years" and "Un Lemon Por Civilon", both 1999, suffer a very similar fate. They too are figurative colour compositions. These are not Alan's best work. More to the point, despite all this lovely colour, they are not abstract and not "real" enough.
Alan Gouk, "Through the Years", 1999
Abstract art is not about "abstracting", I repeat – though we have seen quite a lot of that tried out over and again, even on Brancaster (and still continuing, off and on). Alan, of course, encourages this. And what's more, it was not much more than ten minutes before I got a rather rude lecture on my misunderstanding, in my writing on Abcrit, regarding the singular lack of any kind of relationship, human or otherwise, between the great figurative painting from the past and his kind of modernist painting and its immersion in the (inadequate) world of colour, colour, and yet more colour. Then I very quickly got yet another ticking-off, this time on my perfectly honestly-held opinions about Katherine Gili's sculpture, as expressed coherently here on Abcrit. This makes him a little crazy! He will defend her work to the end, but that does her no favours. And he's pointlessly rude about my opinions on her work, which I stand by. Perhaps that's the end, then. He really needs to make an effort to see things from a new point of view. And he should stop thinking we are all in his debt, and try very hard to stop imagining that any good new painters – like the very fine and progressive John Pollard, for example – an artist he once derided because he thought him very poor indeed – are now doing well because of HIS influence. This is unlikely, and even if only partially true, will soon dissipate (we hope). Make it "real", Alan!
I was at Gouk's show with the very well-mannered (!) Patrick Jones, whose new paintings I have yet to see, except in pictures. They look like some of Patrick's best work to me, so here are some he has sent. I hope those who have actually seen them might comment…
The very talented John Bunker had a show of "New Collages" at his London studios in November. I have thought right from our first meeting, when he was making wacky constructions or assemblages with found objects, of his considerable talents. He has moved things along in his work quite a lot since then, of course, but I feel a little stuck with the most recent show. Quite a lot of it did not work for me beyond a kind of "decoration", and I include the large work in that criticism. I'm somehow uneasy with all the developments relying on the collage of these many and various found objects or pieces of material when they are placed so loosely upon an open wall, and with quite such a degree of unresolved ideas, as if they were hanging there as rather pictorial illustrations. This is what I wrote about his work from Brancaster Chronicles in 2017:
"I think it is especially difficult with John's work to form a discriminating opinion, not only because he has a consistently high level of novel invention throughout the work, but also because he makes work that is neither painting nor sculpture – he operates in territory pretty much his own, and we are all mindful of keeping open all the options. However, on reflection, I do think this is a mixed-bag of work that does all sorts of different things with quite varying degrees of success.
The relationship of the work to the wall might be seen as analogous to open space in and around a sculpture, but not only does that mean very little, I don't in the end think the analogy stands up. The wall has become part of John's new territory, and it is used in a variety of interesting and experimental, but also inconsistent, ways, and it needs careful thought. For me, the ones with the linear strings or wooden spacer elements don't work so well, and perhaps don't engage so well with the wall even as they seemingly attempt to gain more of it by opening out across it. I like the idea of that, and I understand the ambition, but these elements I think become a bit literal/figurative, as in the "hanging" of "Cannaba", and make the work more object-like, less pictorially spatial. What seems to me to work best is when a diversity of different things integrate pictorially, sometimes including the wall, but with it weaving in and out and through the other material in a more natural way, with the spatiality of the piece not unsettled by figurative triggers. I realise in saying this that I am aligning these collages far more with painting than with sculpture, but I see no convincing third option. I rather think John sees them very differently to me, so I'm trying to keep open the possibilities of all these things."
I think I would repeat this comment about quite a bit of the new work this year. However, this one looks to me to be far the best, because it resolves all those issues and holds these things together very convincingly. Nothing hanging about here!
Looking forward to Lee Krasner at the Barbican, 30 May – 1 September 2019. I really hope this show is good, though the title "Lee Krasner: Living Colour", puts me off a little. Would it be too much to anticipate seeing this? Even if not this one, she has so many great-looking paintings from around this period.
Lee Krasner, "Shattered Light", 1954
To finish: a couple of wonderful photographs from the Whitechapel Art Gallery's archive exhibition on the Jackson Pollock show put on by the late, great, Bryan Robertson in 1958. Wow, what a show that must have been, and what a great piece of true curation. Before my time, sadly, but I did meet Robertson, and I thought he was a giant.
Jackson Pollock at the Whitechapel, 1958
Posted in Robin Greenwood and tagged Alan Gouk, Antoni Milkowsk, Bryan Robertson, Carl Andre, Donald Judd, E. C. Goossen, Jackson Pollock, John Bunker, Lee Krasner, Patrick Heron, Patrick Jones, Robin Greenwood on December 9, 2018 by Robin Greenwood. 14 Comments
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If you want to get a copy of "The Art of the Real", you can get hold of the original MOMA catalogue (yellow square) but not, for some reason, the Tate version (black rectangle). I have no idea why that is the case, other than assuming some kind of copyright conflict. In any case, Tate does not seem to make any kind of acknowledgement on its website of the exhibition ever having taken place.
P.S. With apologies for misquoting the last part of the Goossen – missing half the sentence – which I think is now correct: "Thus, what was once concealed within art – the technical devices employed by the artist – is now overtly revealed; and what was once the outside – the meaning of its forms – has been turned inside." Of course, I can't agree with it all, but it was a real platform back then…
"…Today's real (1968) on the contrary. makes no direct appeal to the emotions, nor is it involved in uplift. Indeed, it seems to have no desire at all to justify itself. but instead offers itself for whatever it imagines its uniqueness is worth – in the form of the simple, irreducible, irrefutable object."…
'Object' – isn't this exactly the problem; art reduced to 'objecthood' ? A rock, a tree, a cloud, may be considered as 'objects' but they breath LIFE, a whole history,of 'why?'
The IDEA of 'objecthood' is understandable as a philosophical and semantic conundrum. especially at the time of this writing,;but as an aim for sculpture ? – no.
As you say, Robin, Judd comes across (surprisingly) as an excellent architect but a hopeless sculptor. It is essentially an American anti 'European' take which evolved out of American art becoming dominant in the forties and fifties/ Many artists here were influenced at the time.
(Abstract) sculpture must, in my view "appeal to the emotions" and "uplift".Its justification must be its strength in conveying these things, opening up our feelings, not by being "simple". "irreducible'. or an "irrefutable' object.
Whilst I understand your disagreement with these simplistic Americanisms, Tim, I do think Goossen's thesis was a beginning (for me) of a different way of thinking about art that does not rely upon a certain kind of indulgence in the "appeal to the emotions" and "uplift" that is often overplayed in abstraction. Indeed, the latter belongs too much in the area which I try to distinguish here from "real" abstract art. Opening up our "feelings" might be OK, or it might be not OK, and to me that depends on many other factors. It could just play out as yet more metaphorical crap of the kind that the minimalists wanted out of. And who is to say who has the genuine emotions?
There is so much more of significance to be understood and worked with in sculpture and painting that are really now "abstract", that the "expression of emotion" by the artist can become meaningless. I therefore prefer the quest for what is "real", even though it may seem undefinable.
What's more, it seems to me that you yourself, Tim, in the work we have lately and interestingly been discussing here, are engaged with abstract sculpture in a way that surpasses your own previous approaches that often developed via a semi-figurative kind of structure, and that may well have aspired to engage "emotions", particularly about the figure, without achieving real freedom. These kind of emotionally-tangled structures are proving of no account in going forward.
The new work of a number of us now surpasses that of sculptors such a Caro. What's more, critics such as Greenberg and Fried, in retrospect, appear to have had no real insight to offer into abstract sculpture that would add to our present engagement and take us forward. By contrast, things are looking very positive to me now. These things have taken time to understand, but we are where we are.
Yes, of course, who can say if one person's emotions / feelings / perceptions are superior to another's; (other than by common consent – Beethoven, Rembrandt) ?
If 'real' simply means aiming for something better – improved upon what went before, then I am all for it. What I did not see in the whole 'object' saga of the time that you quote is an upsurge of SCULPTURAL feeling / emotion etc. etc..I am of course aware that that begs the question of what one means by 'sculptural' ?
I suppose quite a good test of that is whether what purports to be 'sculpture' ultimately turns out to be something else – architecture; furniture; engineering; gardening; illustration; etc., etc.;; ……………………………………………………………………………………………………..
I think the "expression of emotions" thing is a bit of a straw man.
The artist can be discovering patterns/structures of feeling (not just emotion) that go beyond their own experience and which resonate differently with different viewers.
On another tack – it seems to me that the Krasner has a lot in common with Richard Prince´s "Untitled 2017" 558 x 624 cm on the Gagosian (New York) website.
They are both basically patterns, in the sense that you can imagine them just going on and on, and also in the sense that you can copy and paste any part of the image back onto another area without really destroying anything (try it).
You couldn´t do that to Krasner´s "Milkweed" 1955 or to "The Seasons" 1957
Prince´s work has very obvious figurative elements and yet, taken as a whole, the Prince seems to me at least as abstract as the Krasner, which could easily be interpreted as a photo of the strandline at Brighton after a storm. I like them both.
Sad to say, Richard, I would not cross a very narrow road to look at a Richard Prince work of any description, and this example looks like a really poor rip-off of a Dubuffet, who I can't stand anyway. I can't imagine why you think it equates in any way to the Krasner, but no doubt you have your ideas. OK, so I have not seen either of these paintings, but I really do want to see the Krasner, or some of her similar work, because I think it might have genuine inventive significance, even now. Maybe especially now! I don't see it as a pattern at all, because it is in no way looking like any kind of orthogonal predetermined, figurative scheme, more of a real discovery of structures in movement, turning and re-grouping (not sure about that description…). There are other works by her that look as good, from around 1947-49, rather more broken and (dis-)integrated; and then there are a number of really exciting-looking works surrounding this particular mid-fifty painting. (I think the catalogue raisonne of Krasner by Abrams is excellent, by the way).
By the time she gets to "Milkweed" in '55 and later, I think there is a degree of figuration and graphics creeping in, with perhaps some of Pollock's more dubious influences dominating a little too much, both just before and then after his death in '56.
In any case, I await the Barbican show with anticipation. I'll leave Prince entirely for your "enjoyment".
The discussion about emotions in art is one I have had before with Tim, and it rather embarrasses me most of the time. True, art can make me emotional, sentimental even at times, but it is not a topic I feel adds much to our understanding of how to appreciate the achievement of past figurative art, or indeed, even more imperative, how to move abstract art forwards now. And there are many times when, for example, I might be looking at a great Constable or Rubens, I feel no "emotion" at all, of any obvious description, yet fully converse in some way with its greatness.
…but art could be "about" feeling without it being either the direct product of the artist's feelings or a method of inducing/manipulating feelings.
You could see it as an "investigation" of feeling by the only (rather indirect and subjective) means that we have available.
That way it is entirely consistent with not being emotionally moved when deeply appreciating a great artwork, and it also escapes from the "whose emotions are better anyway?" and the related "all a load of egoistic exhibitionism!" arguments.
In fact it all becomes completely unembarrassing
and selfless and almost scientific!
I think the technical interest that we all have in art and that gets discussed here and at Brancaster is important but surely secondary. None of this would be of interest without the deep satisfaction that comes from organising stuff and seeing stuff organised by others. Maybe you are content (and right) to leave it there but I do think it's interesting and relevant to ask where that satisfaction comes from.
I might wait until twilight and turn up my collar, but I would definitely cross the road to look at these (maybe only these) Princes, to see what they are really like.
I think the colour and its organisation look really good on the website, especially in the one mentioned above and in the large panoramic one.
Dubuffet has the weird figures but not the amazing colour, and the figures seem to me to be almost irrelevant in these two paintings.
I have seen some of the shows written about here and I am also really looking forward to Lee Krasner's exhibition at The Barbican.
I completely respect Heron's place in art history but (feel bad saying this) found myself somewhat disappointed in the Tate St. Ives show, not sure if it was to do with the presentation or my high expectations of what to expect, or whether I have just moved on from what I get excited about in front of a painting. It was hard to see the texture of the colour fields and the work seemed subdued.
Visiting Patrick Jones's studio exhibition of his new work, on the other hand, was a very rich experience. His new paintings are luminous and iridescent and really are rather beautiful. They draw you into deep visual pools with accents, bars and blobs of strong colour which seem to float but still feel integrated into the whole work. A fabulous set of paintings which echoed the sea and sky I experienced while staying by the Devon coast. That is not to say they were figurative, it just felt like Patrick had captured and transformed the qualities of his surroundings into an abstract vision. Wonderful.
Alan Gouk's retrospective show part 2 at Felix and Speare was pretty impressive too, but I have to agree with Robin that part 1 resonated more strongly for me too. Any figuration that might creep into Alan's work doesn't really bother me because I feel the power and potency of his delivery comes out at you and overrides everything else. I feel that is the case with 'Gaucin Night ll' . I felt 'Through the Years' was not as strong as some of Alan's work but, really, he is a very good painter that should have more recognition art history.
I enjoyed John Bunker's exhibition very much, I am always amazed at what he can do with materials! The large piece had strong echoes of Braque which worked for me. I remember thinking that John integrated the linear elements with solid material well when they were densely constructed. Again, an enriching experience.
Patrick Jones says:
Thank You Noela for your comments.Its great you could be bothered to come and have a look.I am currently mulling over Emyr Williams comments on Instant Loveland about "the pictorial"",as that seemed to me to be the difference between the Sean Scully show that I saw concurrently with Alan Gouks show at Ealing.The difference seemed to be that Alan,despite the raucous colour and extreme surface ,was trying for a set of integrated relationships, which cohered into a totality,which could be called pictorial.This was hinted at in the Scully single canvasses.but was lost in the juxtaposed panel paintings.The gallery actually claimed he was having fun with the notion of wholeness by avoiding it,while I felt he was actually abnegating his responsibility as a painter of substance.However he is the Tyson Fury of English Painting ,and laughing all the way to the bank.I just wanted to applaud Robins view that you can look at great art without feeling anything ,except enjoying the way it is put together,the way it is constructed.I have always been tempted by Rothkos view that one needed to be ravaged by a great painting ,that it was a geiger counter of sentiment.In fact I realise I often don't feel anything emotional,just envy the constructional abilities.It occurred to me recently that it is nigh on impossible to be humorous in an Abstract Painting.If I could I would aspire to Steve Bells view of Teresa May.lashed to the great white whale ,forever rolling in the deep,coming up for air,ready to be drowned again, from Moby Dick[Guardian newspapers].Very Funny,but not possible in Abstraction,where everything is in the putting together,construction itself being an ethical activity.However the hard looking ,no feeling ,is completely different to the lack of any sort of pictorial interest in Peter Blake or David Hockney,compared to the Cezannes normally in the Coutauld,where I not only feel I know the man in the brown hat,I can smell the mud on his coat.
Can there be something that is 'abstract pictorial'?
The work of Alan Gouk that I have seen has not struck me as being pictorial too often, I like what you say, Patrick, about the raucous colour and extreme surface integrating into a totality in Alan Gouk's work though.
I wonder if Alan Gouk had lived in St, Ives could his place in art history have been as high as Patrick Heron's?
I wonder how genuinely different the Scullys and the Gouks are in terms of orthogonal organisation of big, roughly-rectangular panels of colour…? (True of Rothko too?) Obviously the Gouks are more inventive and less repetitive than Scully's single formula works, repeated ad nauseum, but they do have a somewhat figurative, familiar, "constructed" organisation to them.
This is where, I think, things have now changed, at least in the minds of some of the Brancaster artists, in painting and in sculpture that is genuinely abstract. We no longer have big ideas about "construction" that dictate how things are organised pictorially or design-wise or compositionally. And we certainly don't have ideas derived from "abstraction", a word I cannot understand is still being brought into the discussion. About what, exactly? We are free of it. So what is it you think you are abstracting from, Patrick?
Looking at new abstract art means a lot more to me than admiring the construction. It often feels to me like an engagement with the work on an indefinable number of complex and varied levels, and an ability to knit all these different ways of seeing together as wholeness.
Dear Robin,Im not Abstracting from anything.Im distilling essential experience.That distillation calls on a great deal of experience of life and art \some good,some bad ,always cataclysmic.,I was watching George Bests life story last night.Some of the best football ever seen ,but what a waste of talent!But of course instead of Bobby Charlton to worry about,there are always other painters to think about ,look at .Some of these you will never have heard of ,such as John Marin,Milton Avery,John Epstein,Bill Jensen.However Im not pulling rank, as sculptors have their very different set of problems,not least how to match the sort of wonderfull sense of Self David Smith demonstrated throughout his life and work.Identity!Everybody I met loved him .Thank goodness you ve got Tim Scott on your team.What pisses me off about most contemporary Abstract Painting in the UK is that they have not bothered to discuss the question of what happened to the Bauhaus in Weimar Germany ,before the Nazis declared Abstraction degenerate Art.I don't know,either but would find it fascinating ,the development of an emerging visual culture.Call it what you like , the word Abstraction has a certain ring to it..I often feel you are SO sure of whats good and bad,where is the discovery in that?Superb Taste isn't enough.A lot of younger Abstract Painters cant be bothered to relate to History at all.its old hat. Unfortunately what remains is just like the celebratory TV programs,,simon cowell et all/ process led,add a bit of wax to some oil and acrylic and call it "Wildfire",put it on Facebook and think you are AMAZING.I believe History and Identity are essential.I often think of John Coltrane when Im Painting ,and what would he play.People come in and out of the studio during the day,in my head .As De Kooning said,hopefully at the end there is only you left.
Mark Stone says:
I'm sorry I missed this Robin – I've been very overwhelmed with responsibilities of late, but I wanted to say how much I enjoyed this thoughtful and wonderfully provocative post. Your assessment of Judd is absolutely correct and the work is indeed quite beautiful. Truly, I don't care what it's categorized as, it just has to be good, and I think you would agree with that. But what I really enjoyed and applaud are your comments on Modernism – particularly this – "But now we know – don't we, surely? – that "abstraction", and in particular, "modernist designed abstraction", is in no way taking us forward. We know that from doing Brancaster Chronicles. The claim for progress by the kind of modernism preached by Heron and others cannot be made to stick at the job any more." And I see this kind of thinking in your recent sculptures which I am still looking at online and carrying with me in my mind. The one piece I retweeted a while ago – with the bolted wood (please forgive me I haven't the title handy) – I find particularly powerful and I think it comes from the way you are thinking these days. It seems to me that everything is up for grabs while trying to get to something different and specific. I'm excited for you! Please keep going and take us along for the ride – I am definitely learning from this as well! Best – Mark


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Police, Deputies Dealing With Growing Car 'Gathering' Issue
John McKay Published: August 14, 2020
Illegal Kennewick car gathering (KPD)
Kennewick Police have shared this video, which they say is part of a growing issue in Kennewick, however, it's affects all local law enforcement.
It's been going on for some time, but especially began to grow significantly back in March during the early stages of COVID.
A number of younger persons, including teens, have made the large parking lot at Highway 395-Kennewick Ave. and Clearwater their gathering/racing/burnout spot.
It's the parking lot that's home to Rite Aid on the south, to Golds Gym and Baskin Robbins to the north, and Starbucks as well. Police say in the video they counted well over 100 people standing around in close proximity. Besides what police said were COVID related non mask issues, their largest concern comes from not just public safety but that of the participants.
Police said the video did not capture races, burnouts, and donuts that are routinely performed by these gatherers. The situation reached a 'head' last weekend, when a 22-year-old man was arrested after a reckless driving incident in the lot which involved hitting a pedestrian as he was fleeing police from the parking lot. The man is facing a plethora of charges.
Kennewick Police say they've partnered with all area enforcement agencies and the WSP to provide additional Friday and Saturday night patrols to break up these meetings. This video was shot just prior to officers clearing the cars and people from the lot.
Filed Under: car gatherings, cars, drag races, people, police, Races, teens
Categories: News, Travel

redpajama_set_name: RedPajamaCommonCrawl


Microsoft has announced its new generation of server operating system called windows server 2008. Microsoft windows server 2008 beta 3 is available for download.
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Clare Foley
Clare Foley Biography
Biography by Clarence Published on 03 Nov, 2017 Updated on 03 Nov, 2017
Facts of Clare Foley
2001 , September-24
Drack brown
Face Color
Liam Foley, L.J. Foley, Aidan Foley, Declan Foley
View more / View Less Facts of Clare Foley
The American actress, Clare Foley is well known for portraying the character of Ruby Taylor in TV series, Do No Harm and Ivy Pepper on the Fox series, Gotham alongside Ben McKenzie, Donal Logue, and David Mazouz. In 2010, she made her TV debut by appearing in television series; Orange Is the New Black.
The American crime drama series, Gotham star, Clare Foley was born on September 24, 2001, in California, United States of America. Regarding her ethnicity, Foley is a White American and holds an American nationality.
Foley was raised up in her hometown, California and has done her schooling from there. She has four brothers Liam Foley, Aidan Foley, L.J. Foley, and Declan Foley.
Clare Foley was highly interested and dedicated to acting from her very early age as she made her on-screen debut at a tender age of eight. In the year 2012, she played the role of Ashley alongside Ethan Hawke in a 2012 supernatural horror movie, Sinister.
The move�s producing cost was only $3 million whereas it grossed a tremendous box office collection of $77.7 million. Foley then featured as a Ruby Taylor in Do No Harm. She also gained a massive popularity after highlighting the buzz-worthy role of the young version of Piper Chapman in Orange is the New Black alongside Jason Biggs, Uzo Aduba, and Natasha Lyonne.
In addition to her acting, Foley also made her appearance in a 2010's episode of the television series, Law & Order: Criminal Intent. Moreover, she appeared in Very Good Girls in the year of 2010. She also appeared in the short-lived NBC series Do No Harm alongside Steven Pasquale.
The 17 years old young American actress, Clare Foley has kept her personal life away from the limelight. Clare has not shared anything about her dating, affair, and boyfriend till date.
Currently, Clare is focused on her acting career as well as education. Other than that, Foley is also very much accessible on social Medias including, Instagram and Twitter.
Clare Foley is a successful young American actress. One of Clare�s famous supernatural horror film Sinister made a huge box office collection of $77.7, and its filming cost was only $3 million.
As per some online sources, Clare has an estimated net worth of more than $1 million. One of Clare's co-star David Mazouz's estimated net worth is $0.7 million in the year 2017.


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Nearly every house on Ocracoke had one at one time. The small screen house, normally raised up several feet on posts, served to keep meats and baked goods cool(er) and protected from flies and other bugs.
With the advent of electricity in 1938, and the rapid introduction of refrigerators, islanders abandoned their screen houses. Today, I know of only one extant screen house on the island. It sits on the ground behind Blanche's house, not used for many a year. Blanche tells me her papa built it when she was six years old.
Blanche's Screen House
There are still several original screen houses in Portsmouth village. Look for them if you are over there. I am thinking I will build one for my back yard one of these days.
Before cell phones, did residents ever at any time, employ passenger pigeons to send messages to the mainland?
Philip 8:54 AM
I've never heard of anyone on Ocracoke employing passenger pigeons. I've never even seen a pigeon on the island. If I know anything of old-time Ocracokers, they would have been more likely to eat the pigeon than to send it off with a message.
Pat 11:19 AM
All over our country we have distroyed too much of our past. It's great to see something like this still standing.
Build it, Philip, and "they will come".
Are there Cardboard bicycle rentals on OI or has a vendor not set up shop yet? MarketDesign
Speaking of Portsmouth, do you know if anyone is around to take visitors to Portsmouth the first week of November? I now know we will miss your Ghost Tour, so we thought perhaps we could venture over there. Austins? Ferris O'Neal? Any ideas would be greatly appreciated. Love this picture and that this is still standing. Would be a great addition to the museum there.
What about a community potluck to raise funds to restore the screen house? Seems like a noble enough reason to have a party. ;-)
Philip 8:27 PM
-- No cardboard bicycles on Ocracoke...YET. But who knows?? (http://www.jpost.com/Features/InThespotlight/Article.aspx?id=287886)
-- Check with Rudy Austin about trips to Portsmouth (http://www.portsmouthnc.com/). We noticed at least 3 screen houses over there today (Tuesday).
-- A potluck dinner to promote screen houses?? Why not?
Lou Ann Homan 8:36 AM
I think it would make a wonderful chicken coop.


With a network of more than 20 European research organisations and data and computing centres in 14 countries, the EUDAT Collaborative Data Infrastructure (CDI) is one of the largest infrastructures providing integrated data services and resources in support of research in Europe.
From January 2018, the EUDAT CDI will start working with a consortium of 100 partners including Research Infrastructures, national e-Infrastructure providers, SMEs and academic institutions within the framework of the EOSC-hub project, a Research and Innovation Action funded by the European Commission (call H2020-EINFRA-12-2017(a)).
As its name suggests, this project aims to create the integration and management system ("the Hub") for the future European Open Science Cloud and the EUDAT CDI will be a key part of it.
"EOSC-Hub is an ambitious and challenging project", stated Per Öster. "It brings together a broad consortium of generic and thematic service providers who will work jointly to lay the technical foundation of the European Open Science Cloud."
As Project Director, Per Öster will work closely with the Project Coordinator and chair the Project Management Board - the executive and supervisory body of the project implementation responsible for driving the project strategy.
Per Öster is already very much involved in the EOSC governance discussions, leading the EOSCpilot Governance Development Forum, and he will ensure a good interaction and synergy between the two initiatives. His previous activities as Chair of the EGI Council and his current engagement in the EUDAT initiative, as well as his role in various research infrastructures have given him deep knowledge of the main actors of the project which will be a key asset for the success of the project.


Since the initial proposition of Muller and Danimann  in 1952, the techniques for surgical creation of an obstruction to pulmonary flow have evolved, as well as its clinical indications. However, what could be considered a simple surgery - the pulmonary artery banding (PAB) - is currently still accompanied by high morbidity and mortality, with significant complication rates [2-4]. This fact is due to the difficulty of assessing the degree of pulmonary constriction to be produced, considering that this assessment is performed in very special circumstances, since the patient is under general anesthesia, muscle relaxant, with the chest opened and ventilation controlled. Thus, what could be considered an appropriate adjustment in these circumstances, can be shown excessive or inefficient when the patient recovers his physiological condition. The complexity of heart disease also interferes with the mortality of the procedure, ranging from 3% to 25% in the literature [5-7].
The intensity of the intraluminal obstruction is also a difficult aspect to be assessed, as well as its effect on the flow. A stenosis produced by a constriction of the pulmonary artery (PA) which presents, by external inspection, as mild or moderate, may represent a much greater luminal narrowing due to the invagination of the vessel wall to its lumen, producing a greater obstruction than expected.
Currently, there are three main indications for PAB: heart disease with increased pulmonary hyperflow and unbalanced biventricular physiology, whose definitive surgery at some momment would be at high risk, requiring staged correction; heart disease of pulmonary hyperflow with univentricular physiology, as a palliative for protection of the pulmonary system as for the main pressures, until the child can undergo surgical steps of the cavopulmonary connection, for preparing of the subpulmonary ventricle in hypotrophic condition due to the transposition of the great arteries (TGA) for further Jatene's surgery procedure [8-10].
The world literature lacks of long analysis on PAB. At the Messejana Heart Hospital, in Fortaleza, CE, the main referral center for complex congenital heart diseases of the state, about 250 to 300 pediatric heart surgeries are performed a year. In about 10 cases per year it is necessary to perform the PAB. Thus, the aim of this study is to assess the service experience in PAB surgery, detailing and correlating the main aspects observed as for its distribution and clinical outcome.
Between January 2000 and December 2008, 76 patients underwent PAB for treatment of various congenital heart diseases with pulmonary hyperflow. The data were obtained by retrospective assessment of the medical records. 15 patients were excluded from analysis due to lack of data. The study included 61 patients, with 28 female. The distribution of heart disease is shown in Figure 1. The main heart disease was ventricular septal defect (VSD), by 19.31% of patients. These children, specifically, had undergone PAB for not presenting clinical conditions for total correction at some point (malnutrition, infection) and/or due to unfavorable anatomy of the VSD (apical, multiple, etc.). Cases of banding for ventricular preparation in the TGA were not considered because of the small experience in our service, with few cases operated and because we consider it is a very specific condition with peculiar aspects of adjustment and assessment, which may be approached, specifically, in another study. This study was approved by the Research Ethics Committee at Messejana Heart Hospital.
The patients underwent surgery under general anesthesia and orotracheal intubation (OTI). In 50 cases, the access to the heart was performed through a classic sternotomy; in three cases through mini-sternotomy with partial opening of the pericardium, and in eight cases, left thoracotomy was performed (six of these presented aortic coarctation which was corrected during surgery). When present, the patent ductus arteriosus (PDA) was connected. In all cases fixed banding was performed, aiming at reducing pulmonary pressure after the PAB to about 30% of sytemic pressure (SAP), since there was no destabilization, a condition where the highest tolerated constriction was maintained. In cases of single ventricle heart defect, it was also noted the value of pulmonary artery pressure, which ideally should be maintained below 20mmHg. The minimal arterial oxygen saturation was allowed at least 75%-80%, with fraction of inspired oxygen of 40%.
Some patients were not considered for analysis of certain parameters due to incomplete data from medical records or lack of relationship between the variable and the surgical procedure. In the variables where this occurred, we specified the total number of "valid patients". The parameters assessed in this study were: weight and age distribution, incidence of cases where the ideal adjustment was not tolerated (47 valid patients). It was considered as an ideal pressure adjustment a PAP/SAP ratio as close as possible to normal, around 30%. In the present study, we standardized this ratio as ideal if up to 0.39, assessment of associated procedures (61 valid patients - PDA was not considered), duration of intubation (49 valid patients), length of stay in intensive care unit - ICU (44 valid patients), incidence of reoperations for adjustment of banding (61 valid patients), use and duration of vasoactive drugs (dopamine and/or dobutamine and adrenaline specifically - 46 valid patients) and incidence of serious complications (heart failure, renal failure, low cardiac output syndrome (LCOS), severe bradyarrhythmias or tachyarrhythmias, reversed cardiac arrest and death - 59 valid patients).
Patients listed by LCOS presented severe hemodynamic instability without other significant clinical or radiological evidence of heart failure. For the characterization of heart failure, the clinical parameters (congestive hepatomegaly, significant pulmonary congestion, low cardiac output) and radiological or echocardiographic parameters were considered. For the characterization of renal failure, urinary output and laboratory values of nitrogenous compounds were considered.
Statistical analysis was performed to assess the relationship between death and body weight, associated procedures, univentricular or biventricular physiology and complications, as well as correspondence between these different cardiac physiologies and the difficulty of adjusting the banding.
The data for weight, age and time were described as mean ± standard deviation. For the relationship between weight of patients who died and those who survived, we applied the Student's t test for analysis of unknown and equal variances. The chi-square test was applied to contingency tables, assessing the relationship between associated procedure and complications. To assess the relationship between univentricular or biventricular heart disease and incidence of complications or inadequate adjustment of the banding, it was applied the normal test for equality of proportions. In all cases, the level of significance was 5%.
We considered for this study 61 patients with ages ranging from 5.6 ± 9.5 months and weighing 4.34 ± 2.13 kg.
In 13 (21.3%) cases, other procedures associated with PAB were performed: six AoCo corrections, four atrioseptostomy without cardiopulmonary bypass (CPB), one correction of cor triatriatum, one atrioseptostomy with CPB and one implant of definitive pacemaker.
In 24 patients of 47 (36.17%) it was not possible to adjust the banding to allow a PAP/SAP ratio < 0.39. The distribution of the measures is shown in Figure 2.
The patients remained on mechanical ventilation in OTI for 14.1 ± 49.6 days. The length of stay in ICU was 14.16 ± 10.92 days.
In 82.6% of patients, dopamine and/or dobutamine for an average time of 10.30 ± 12.79 days were administered. The need for adrenaline, specifically, in the most unstable cases, was required in 19.6% of patients, for an average time of 3.5 ± 2.1 days.
It was required in four (6.5%) cases. Three and one patients presented biventricular and univentricular physiology, respectively.
In 26 (44.0%) patients, there was a significant degree of heart failure in their evolution.
Six (10.1%) patients presented renal failure, in three of them peritoneal dialysis was required.
57 severe complications were found in this group, affecting 29 (49.15%) patients. The distribution of all complications is shown in Table 1.
Five (8.2%) patients died, four and one of them presented heart disease with biventricular and univentricular physiology, respectively.
There is no significant difference between the weights of died children and those who survived (P=0.1012).
Patients who underwent PAB in association with another procedure did not present a higher rate of severe complications (P=0.1032).
The comparison between heart disease with univentricular or biventricular physiology and incidence of complications were not different (P=0.2224). Similarly, no statistically significant difference in comparison with heart diseases with these two physiologies and higher incidence of improper adjustments were found (P=0.8728).
Pediatric cardiac surgery, in constant evolution, now experiences the moment of total corrections, increasingly early, of the vast majority of congenital heart diseases. However, in some circumstances, PAB is still a necessary procedure, not only as protection as for the increase of pulmonary vascular resistance in single ventricle heart disease, but also as palliation in patients with heart disease of biventricular pulmonary hyperflow arriving at specialized centers in unfavorable conditions for a total correction at the time.
The difficulty in obtaining an appropriate banding and assessing its hemodynamic effect can be better understood when we consider the observation made by Poiseuille, on which the blood flow is related to the fourth power of the radius of the vessel. Thus, small changes in vessel diameter have a large impact on the flow and pressure gradient through the banding, providing the procedure, although simple, a development with variable - but significant - morbidity and mortality [5-7]. Proposals for pre-established perimeters, such as the classic rule of Trusler , in which the authors preconized a perimeter of the pulmonary artery to be obtained with the banding of 20 mm or 24 mm, by adding 1 mm/kg of weight, if the heart disease is cyanotic or acyanotic, respectively, rarely correspond to reality, although such proposals can be used as a reference to "starting point" of the constriction.
Little effort has been observed in the world literature for publication and analysis of large samples of PAB. In our Service, we perform about ten of these procedures per year and experienced the difficulties described in the few clinical reports in the literature. The mean time of OTI and ICU stay of two weeks were high, as well as the need for vasoactive drugs in most patients. The use of adrenaline was considered separately because, although the use of dopamine or dobutamine may even be a routine in the early hours in some services, adrenaline, invariably, is a rescue drug, used in extreme situations, required by nearly 20% of the patients assessed. These long-term use of drugs, mechanical ventilation and ICU stay result in high costs and are compatible with those found in the treatment of complex congenital heart disease.
It can be emphasized the high number of patients who did not tolerate greater tightening of the banding in search of a more physiological pressure ratio (36.17%). In seven (11.4%) patients, only a small constriction was tolerated, and in 6.5%, further surgery was necessary to tighten the banding. These data show the difficulty and empiricism in attempting to adjust in very special conditions. Ideally, one should install the banding and after making necessary adjustments, with the patient awake and recovered from surgery. Adjustable devices can be the solution [12-16].
The unreality of the intraoperative adjustment is also characterized by the discrepancy observed between the RV-PT gradient (right ventricle/pulmonary trunk) measured during surgery in some patients and the postoperative echocardiogram. As this practice was not performed regularly by lack of standardization, the data was not the aim of our study and therefore not approached in our results. In this study, the presence of only one normal functioning ventricle or both did not affect the difficulty of adjustment.
The incidence of serious complications in the study was high, reaching 49.15% of patients. Cardiac arrhythmias, renal and heart failure with a considerable number of nine cases of reversed CRA characterize well the complicated postoperative of this severe children undergone an abrupt ventricular overload with no time for previous adaptation. Again, heart diseases with uni- or biventricular physiology showed no difference in the rate of complications. Although not approached in the results, the potential anatomical problems related to PAB deserve to be mentioned. This occurs when the bandind migrates close to the bifurcation of the pulmonary branches or the pulmonary valve, causing distortion of the structure . In our series, the latter occurred in one patient.
Correlations between complications and echocardiographic assessments were not reported in this study because there was no standardization of the time of the examination in the postoperative period. However, in cases on which such assessment was performed in the presence of heart failure, only one patient presented significant ventricular dysfunction. Echocardiograms in irregular periods of late postoperative showed no cases of sustained ventricular dysfunction.
Five (8.2%) patients died, an incidence that, although consistent with the literature, is significant, especially if we consider that the mortality rate expected for correction of a ventricular septal defect - most common congenital heart disease - is around 2% -3%. The weight of children who died was not statistically different from the overall average and it was not determinant factor for death.
Similarly, the association of other procedures to banding in two cases with CPB, did not interfere in mortality. Takayama et al.  analyzed the mortality of the PAB in their series since 1966, decade by decade. They noted progressive reduction in mortality, stabilized in the last two decades around 13.5%. No single variable such as gender, weight or diagnosis, represented a significant risk factor, as well as in our study. Patients who had undergone surgery in the last decade by Takayama et al. , presented mean weight slightly lower than our study (3.2 ± 0.1 kg) and age much lower (3.69 ± 8.9 days), which represents the difficulty of access to tertiary medicine, still present in our state, which makes that many patients arrive late for specialized treatment.
Some authors report that the damage related to acute onset of a fixed overload to the ventricle may not be restricted to the hospital phase, being observed in experimental studies of late ventricular dysfunction and areas of necrosis [18-20]. All these aspects stimulate the experiences with adjustable banding devices, because, in addition to allow that the overload is established with the patient under physiologically normal conditions, they allow progressive or regressive adjustable, depending on the evolution of this patient. In Brazil, Dias et al.  and Assad et al. , aiming to prepare the subpulmonary ventricle for the Jatene's surgery, developed simple vascular adjustable banding device of hydraulic cuff type, which proved to be effective in other studies of Canêo et al.  and Valente et al. . Indeed, the regular use of these devices greatly benefit patients who need to undergo this procedure. In any case, the PAB should be performed by experienced surgeons and patients monitored with attention, and the procedure should not be ignored or considered a simple technique without refinements.
The subgroups correlated in this study presented reduced number of patients, which limits the assessment of findings. Largest sample with comparisons between larger groups will allow a more valuable complementary assessment.
The study shows that the PAB can be performed with acceptable mortality rates, consistent with the literature. However, the intraoperative adjustments are difficult to control, making the procedure complex and justifying higher rates of complications, resulting in longer ICU stay. Weight, associated procedures and uni- or biventricular physiology of underlying heart disease did not affect the difficulty of adjusting the banding or incidence of death.


MISSION STATEMENT | ABOUT US | Naito Kogyosho Co., Ltd.
Our aim is to introduce Floader, an amphibious, self-propelled boat launcher, to boat owners and marine businesses around the globe. By using this fun and easy-to-operate device, we hope to revolutionize your boating experience.
We provide boat owners from all over the world with a brand new option to store, transport, and operate their motorboats.
Using our Floader, easily transport your motorboat from your home along the coastline or vacation home on the beach into the water without needing a helping hand.
We are confident that our company's Floader product line will bring joy and ease to your boating lifestyle like never before.


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Étoile de Bessèges 2021 var den 51. udgave af det franske etapeløb Étoile de Bessèges. Cykelløbets fem etaper blev kørt over 615,2 km i departementet Gard, med start den 3. februar i Bellegarde, til 7. februar 2021 hvor det sluttede med en enkeltstart i Alés. Løbet var en del af UCI Europe Tour 2021. I forhold til løbet i 2020 hvor der var syv World Tour-hold til start, var der i 2021 tilmeldt 11. I alt skulle der stille 22 hold til start, hvor der året før var 20. Men få timer før starten på 1. etape trak Sport Vlaanderen-Baloise sig fra løbet, da én fra holdets personale blev testet positiv for COVID-19.

Løbet blev vundet af belgiske Tim Wellens fra , efter han forsvarede den samlede føring han fik med sejren på 3. etape. 53 sekunder efter kom Michał Kwiatkowski fra  ind på andenpladsen, mens s Nils Politt tog den sidste plads på podiet. Mads Würtz Schmidt fra  blev med femtepladsen bedste placerede dansker.

Etaperne

1. etape

2. etape

3. etape

4. etape

5. etape

Resultater

Samlede stilling

Pointkonkurrencen

Bjergkonkurrencen

Ungdomskonkurrencen

Holdkonkurrencen

Trøjernes fordeling gennem løbet

Hold og ryttere

Danske ryttere

* DNF = gennemførte ikke
* DNS = stillede ikke til start

Startliste

Referencer

Eksterne henvisninger

2021
UCI Europe Tour 2021

redpajama_set_name: RedPajamaWikipedia


text:
Digital Banking for Small Businesses. A Front Door to Growth and Value.
Meeting the unique needs of small businesses starts with digital account opening. Engaging them with such a purpose-built digital experience can unlock differentiation and growth.
All Webinars Deliver Better CX with Data SMS Marketing 101 Building a Culture of Innovation Engaging Young Consumers Convenient Digital Customer Engagement
Your Customers Expect Your Financial Institution to Offer Life Insurance
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Are Banks Still Relevant?
The global banking industry faces new challenges from disruptive bank alternatives offering easier, more personalized products. Banks and credit unions must regain their relevance by offering the simpler and more convenient experience consumers clearly crave.
By Jeffry Pilcher, CEO/President & Publisher of The Financial Brand
It's obvious that consumers will always have a need for financial services, but to what extent traditional banking providers will fulfill this role in the future is unclear.
To measure the state of bank relevance, EY surveyed more than 55,000 consumers around the world as part of their 2016 Global Consumer Banking Relevance study. The good news is that — as of today — 75% of consumers still consider a traditional institution with branches to be their primary financial services provider. Unfortunately, 40% of customers express both decreased dependence on their bank and are increasingly excited about what alternative companies might offer them.
EY says the conclusion is inescapable: the relevance of banks is waning.
According to EY, the threats facing traditional institutions are real. Digitally native companies have substantively changed consumer behaviors, preferences and expectations by showing them what a great customer experience should look like. Consumers today want an exceptional experience that's consistent across all channels. They expect simple, intuitive processes. They need to see increased transparency, personalization and tailoring. In short, the stakes are rising.
However, most banks and credit unions are ill-equipped to respond, burdened by legacy technology and processes that make it difficult to change at a pace necessary to keep up. Meanwhile, outside disruptors and neobanks that don't share these legacy issues are increasingly able to deliver what consumers want, chiseling away in areas like payments and lending that have historically been a cornerstone of the traditional banking model.
In EY's study, only one-third of consumers said they see any differentiation among banking providers.
Reality Check: When there is no differentiation in a category, price becomes the sole parameter consumers use to compare brands. The less differentiated your brand is, the more you'll be forced to compete with rates and fees, making it nearly impossible to grow market share and generate more income.
To quantify the relevance of banking providers today, EY measured consumers' current behaviors and future attitudes:
1. How customers bank now — the proportion of people who see their primary institution as a traditional player, and the mix of products they currently hold with that provider.
2. How customers want to bank in the future — consumers' level of trust in traditional banking providers, and the mix of products they would consider a traditional institution for in the future.
Not long ago, banks faced little or no competition, so they played a prominent role in the lives of nearly all consumers. Today? Not so much.
"This study demonstrates the impact new competitors have had on banking services," EY wrote in its report. "Decreasing consumer engagement with banks and increasing interest in banking alternatives shows how vulnerable incumbent banks are to losing customers to new types of providers."
EY says it is imperative that banking providers increase their relevancy and reclaim their central place in people's lives. Specifically, EY identified the following four areas where banks and credit unions must focus.
Find out how banks and credit unions can keep up with consumer demands for real-time connection and mobile-first experiences with SMS marketing.
Read More about SMS Marketing 101
2021 Financial Services Review
Explore key themes in intelligence-driven marketing that are critical to understand. The 2021 Review leans into the learnings of an extraordinary year of growth and transformation.
Read More about 2021 Financial Services Review
1. Enhance Analytical Insights
Banks have traditionally relied on datapoints like age and income to predict customer preferences and future propensity, but these overly simplistic models are increasingly poor predictors of actual outcomes. As a result, EY says traditional institutions do not consumers them as well as they think they do… and nowhere near as well as they should. They must better understand consumer behaviors, and tailor their proposition in ways that will appeal to different types of customers.
EY says this requires banks and credit unions take a fresh look at their analytics capabilities to figure out how they can glean more sophisticated insights from data. For example, EY suggests comparing financial savviness (a consumer's level of understanding of- and comfort with financial products) against their digital savviness (one's level of experience and comfort with online and mobile digital interfaces.
A key insight here is that digitally-savvy consumers are not necessarily financially savvy, and vice versa. EY also found that respondents are typically more digitally confident than they are financially savvy. Contrary to common belief, digital savviness only slightly correlates with age. And these findings apply across all age groups and countries.
While some consumer segments are being adequately served by big (impersonal) banks — namely the financially- and digitally savvy, who are comfortable fulfilling most of their banking needs through digital/self-service channels — others are not. Over a third of consumers feel they are digitally competent but financially unsophisticated, suggesting that they need better advice and more hand-holding when it comes to banking products and money management. Similarly, almost half of consumers aren't fully comfortable with digital channels, so they may need more advice and guidance in technological areas (e.g., how-to tutorials, step-by-step instructions).
2. Advocate to Build Trust With Consumers
While consumers trust banking providers when it comes to the transactional aspects of their relationship (e.g., security of accounts and accuracy with transactions), there are significantly lower levels of trust when it comes to the advice and guidance financial institutions offer them — Who's side is the bank on?
The level of trust consumers have in banks lags behind nontraditional competitors such as digital-only neobanks and supermarkets who offer banking services. This applies universally across the three dimensions EY tested: transparency in fees, providing unbiased advice, and recommending products that are in the best interest of the customer.
EY says the best way a financial institution can build trust is to always do the right thing for the customer and provide unbiased, high-quality advice. What else should banking providers do to build consumer trust? EY offers these recommendations:
Radically transform the front line's ability to provide unbiased, high-quality service
Enforce operational excellence to eliminate errors and shorten service timelines
Foster a customer-centric culture by empowering both front-line and back-office employees to directly engage with customers
Ensure complete transparency on product pricing and features
Proactively protect the customer from data privacy and cybersecurity threats
EY also suggests traditional institutions might reassess the range of services they offer, perhaps straying into territory they have not previously to create an ecosystem of service that encompasses non-financial services. For example, rather than just selling mortgages, banks could help consumers prepare to purchase a home, search for a new home, and then make the move.
3. Rethink Distribution and Customer Engagement
While the future of the banking industry is undoubtedly digital, consumers still want human interaction too. While 82% of consumers say they go online first when initially looking for banking services, nearly 60% indicate that they want to visit a branch when making a purchase and/or talk to a real person to get advice.
In the EY study, 44% of consumers say they would not trust a bank without branches, a number that jumps as high as 63% in markets like Mexico. And 55% of consumers say it is important that they be able speak to a person at their bank 24/7.
Reality Check: Digital is not replacing the human experience. The two channels are complementary.
The EY study also revealed that 62% of consumers feel it is important for their banking provider to deliver a true omni-channel experience. That means banks and credit unions must think beyond a "multi-channel" approach where each channel is organized and managed in its own self-contained silo. Instead they need to design robust, integrated cross-channel journeys that allow consumers to move from touchpoint to touchpoint depending on their needs and preferences — without having to make compromises or work around any constraints.
EY says its findings suggest that shutting down branches — a vogue battle cry among digital extremists — may be the wrong conclusion. To enhance distribution and customer connection infrastructure, EY says financial institutions should critically reevaluate plans to close branches, and instead rethink the role, format and size of branches.
4. Innovate Like a Fintech
Consumers want simple experiences, products that are easy to understand, transparency and 24/7 access… and that's precisely what fintech companies an nonbank providers are delivering. Globally, 42% of consumers have used nonbank providers in the last 12 months, and 21% of those who have not yet used them are considering doing so.
According to EY, the allure of a better customer experience is what pulls consumers to nonbank competitors. Across the 32 countries in EY's study, 41% of consumers indicate they would not hesitate to change financial services providers if they found one that offered a better online/digital offer/experience.
In order to fend off the threat and give consumers what they want, EY says banks and credit unions need to start innovating not only like fintech but with fintech. The fintech world is increasingly being perceived as the innovation engine for the industry, so EY says banking providers should be continually scanning the market for companies to emulate, partner with or acquire. Financial institutions must also radically simplify their product portfolios, product features and pricing, setting up cross-functional teams to redefine the entire customer experience.
How to Make Consumers Love Banks Again
To remain relevant, EY says banking providers must nurture the customer experience by listening to market demands for convenient, simple-to-use, easy-to-understand banking products and services that integrate seamlessly into their lives.
Go beyond banking — Deepen customer relationship by offering solutions that go beyond banking products and address all aspects of important stages of customers' lives.
Make it easy — Grow customer-centered digital platforms and effectively enable the sales force to give customers real-time, anytime access to products, services, support and advice.
Make it personalized — Leverage market and customer insights to build relationship-based products and pricing that is delivered seamlessly across all channels.
Keep customers' interest at heart — Invest in the skills, culture, incentives and toolkit of your front line.
Make trust a top priority — Promote transparency in all transactions and proactively protect the customer from data, privacy and cybersecurity threats.
This article was originally published on September 19, 2016 . All content © 2022 by The Financial Brand and may not be reproduced by any means without permission.
Banks and credit unions have an opportunity to build trust in their communities by providing financial education to consumers of all ages.
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text:
Gotti Goes Glam: Travolta to Play Crime Boss as Celebrity, Victim–But What of Lohan?
"John Gotti, Sr., is an icon. Like it or not, he's an icon. The man is legendary. And so is
By Daniel D'Addario • 04/12/11 5:59pm
"John Gotti, Sr., is an icon. Like it or not, he's an icon. The man is legendary. And so is John Travolta."
Marc Fiore, producer of the yet-to-be-filmed mobster biopic Gotti: Three Generations, spoke to a roomful of journalists at the midtown Sheraton Hotel about one of the two stars signed to his film. It will begin shooting in October. Mr. Travolta is to play John Gotti, Sr. (whose actual name was John Gotti, Jr., and whose son is John A. Gotti, but who was thus represented at the press conference). Mr. Travolta said he would prepare for the film by "watching as much video of the man as I can take. I need to know how a syndicate like this works–I need a better understanding of that." The technical knowledge required to run the Gambino crime family aside, Mr. Travolta sees Gotti, Sr., as something of a prototypical celebrity: "He charmed his fans. And there's mystery of what he was up to–I like to play that."
Fiore Films is a new outfit, with only National Lampoon's One, Two Many to its credit thus far, but attracted Mr. Travolta, director Nick Cassavetes (of Alpha Dog, The Notebook, and being John Cassavetes' son), and Joe Pesci, the other star signed to the film (he is to play Angelo Ruggiero, Gotti, Sr.'s deputy). Mr. Pesci was not present, but Lindsay Lohan, who is circling a role, sat silently next to the Gotti family. "I've always thought she was gorgeous, and talented, and filled with a lot of… depth," said Mr. Travolta, though publicists were clear that it was premature to speak of Ms. Lohan's casting as a fait accompli. She hadn't been signed yet–and might have more pressing engagements in the offing!
"I was raised in visiting rooms of various prisons around the country," said John Gotti, Jr., who chose to make himself and his family available for interview with what Mr. Fiore called "the writing team" in order to guarantee an accurate portrayal. "He was a killer, he was a gangster–but he was a man's man, which is really important. He paid for every sin that he may or may not have committed."
The mood in the room tended towards lionization of John Gotti, Sr., who died a prisoner in 2002. "To live this life," said Mr. Cassavettes, "we have to live in relationship to the government. Every time he went on trial and won–we won." Do his victims (recall, the conviction, after years of beating the rap, came for murder) think of the film? John Gotti, Jr. seemed impatient. "In this script, everybody's a victim. And you'll see it."
ddaddario@observer.com :: @DPD_
Filed Under: Movies, Home, Entertainment, Politics, coming attractions, John Gotti, John Travolta, exclusive, Lindsay Lohan, Film, New York, News & Politics
SEE ALSO: The Avatar Sequel Is the Sixth Movie in History to Earn $2 Billion at the Box Office


text:
If you like placing bets on the NBA league or the EuroLeague, then you need to look at the basketball predictions today. The NBA season is just around the corner, and all sports fans are looking for the best basketball tips to help them with their betting strategy.
Last modified: 2022-01-21 02:18:35 UTC+ 0
Yield: 6.35%
Juventus vs BC Neptunas
Juventus -5.00 (AH)
Juventus are 5th on the table with 8 wins and 6 losses. In the last match, they lost 78-71 at home after overtime vs Zalgiris. Neptunas are 7th on the table with 6-7 w/l record. In the last match, they...
View Tip
Basket Zaragoza vs CB Murcia
CB Murcia to win
Basket Zaragoza are 12th with 6-10 w/l record. They lost the last match 112-72 vs Unicaja. CB Murcia are 3rd with 9-6 w/l record. They won the last match 100-83 vs Gran Canaria. They are a better team...
Panerythraikos vs Eleftheroupoli
Over 149.5 points
Panerythraikos went over this line in 2 of the last 4 matches. In the last match, they lost 82-68 on the road vs Harilaos Trikoupis. Eleftheroupoli went over this line in 10 of the last 12 matches. In...
Fujian Sturgeons vs Qingdao Eagles
Qingdao Eagles -8.50 (AH)
Fujian Sturgeons are 17th with 4-20 w/l record. They lost 4 in a row before this game. Qingdao Eagles are 16th with 8-16 w/l record. They lost 3 and won 1 in the last 4 games. They are a better team overall...
Caja Laboral Baskonia vs FC Bayern Munchen
FC Bayern Munchen +5.50 (AH)
Baskonia lost 2 of the last 3 matches. In the last match, they lost 89-83 on the road vs Breogan. Bayern won 2 of the last 3 matches. In the last match, they won 100-81 at home vs Bonn. I expect guests...
Newcastle Eagles vs Manchester Giants
Manchester Giants +4.50 (AH)
Newcastle Eagles lost the last five games in a row. in the last match, they lost 84-70 at home vs London Lions. Manchester Giants won 4 of the last 5 matches. In the last match, they lost 84-77 at home...
Guangdong Southern Tigers vs Tianjin Pioneers
Tianjin Pioneers +8.50 (AH)
Guangdong Southern Tigers lost 2 of the last 3 matches. In the last match, they won 108-104 on the road vs Fujian. Tianjin Pioneers won the last match, they won 126-114 on the road vs Beijing. I think...
Aix-Maurienne vs Rouen
Aix-Maurienne -10.50 (AH)
Aix-Maurienne are 7th on the table with 7-6 w/l record. In the last match, they lost 88-79 on the road vs Saint Quentin. Rouen are 18th on the table with 3-10 record. In the last match, they lost 86-77...
How Do Basketball Predictions Tips Work?
Basketball predictions are tips made by basketball experts who take into account different statistics to suggest the most probable outcome of a basketball match.
Moreover, when making basketball predictions, usually experts take into account the quality of players, how well the team has been performing lately, wins and losses ratio, odds from various sportsbooks, etc.
Also, it's important to mention that these basketball predictions aren't 100% accurate. Therefore, they are mostly used for entertainment by bettors who do not have plenty of time to collect all the necessary data before their favourite game begins.
What Does Basketball Predictions 1×2 Mean?
One of the most popular basketball predictions today is 1×2. Moreover, with a 1×2 prediction, you can understand which of the three possible outcomes is the most probable one. So, the bettor can place a wager on the home team, the away team, or on a tie.
Additionally, these predictions can help the bettors understand which of these three options can be a winning one.
How To Predict Basketball Matches?
Basketball predictions are based on many different factors. Therefore, when making basketball predictions, experts take into consideration things like players' statistics, previous matches, and odds.
What Does 2.5 Mean in Basketball Predictions?
Point spread betting is very popular among all sports fans. It includes placing a bet on a team that is more or less favoured by the sportsbook.
When betting on a team that is +2,5, it means that the sportsbook favours that team. However, it also means that the team needs to win the game by 3 points or more for you to have a winning bet.
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When placing a bet on basketball, you should always pick sportsbooks with the best odds. These sites should include some of the most popular basketball events like the NBA League or the EuroLeague. So, take a look at the sportsbooks below which you can use the next time you want to place a wager on basketball:
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text:
An Anchorage police officer tries a new approach to tackle neighborhood crime concerns
Author: Devin Kelly
Robin Nave, an Anchorage police officer with the Community Action Policing team, gathered feedback about perceived crime and safety problems from residents of several neighborhoods. Photographed on Wednesday, Nov. 23, 2016. (Marc Lester / Alaska Dispatch News)
As a crime prevention student at an Oregon college, Robin Nave researched local crime concerns with a door-to-door survey.
Nearly two decades later, Nave, now a 12-year veteran of the Anchorage Police Department, is bringing back her college research technique to help Anchorage residents feel safer. Earlier this year, Nave created a crime survey for community councils.
The survey wasn't well-advertised. Nave, a new member of APD's Community Action Policing team, wasn't sure what to expect. But she found the handful of responses she got revealing.
This fall, Nave made presentations to the Government Hill and Airport Heights community councils after visiting both neighborhoods, relaying her data and observations. She discussed police behavior. And she offered ideas for making the neighborhood safer, from installing motion-sensing lights to pointing out the best spots for "No Parking" signs.
Her effort comes at a time when residents are more aware of city crime trends than ever before, through websites like Nextdoor.com and APD's community crime map.
Nave's commanding officer, Lt. Jack Carson, said Nave's work marks a more scientific approach, and a signal of the direction in which the department wants to go.
"It's creating solutions to a problem," Carson said in a phone interview. "It's not just going out and talking over some of the same points over and over. It's coming up with permanent solutions to problems and getting the community involved."
Nave, 38, is cheery and energetic. Community council presidents call her by her first name.
Robin Nave, an Anchorage police officer with the Community Action Policing team, on Nov. 23, 2016. (Marc Lester / Alaska Dispatch News)
Her bosses on the community policing team encouraged her to come up with projects. Nave remembered her survey from her research as a student at Western Oregon University in Monmouth, about 60 miles southwest of Portland.
So she drew up a survey. She asked six questions, including whether the neighborhood was a better place to live than it had been a year ago, and whether the survey-taker felt safe going to parks nearby. She also asked a true-false question: "There is very little my neighbors and I can do to change things." The police department didn't have the money to conduct it, but two community council presidents, in Government Hill and Rogers Park, made the survey electronic and sent it to council members.
They got dozens of responses. There was also a strong response from the Airport Heights Community Council. Nave was thrilled. People shared worries about abandoned buildings, speeding on streets and drug sales in neighborhood parks.
For a few months, her data didn't lead anywhere. Nave said her supervisors weren't sure what to make of it.
But Carson, who took the job as CAP team commander in June, loved the idea of following up. From a safety meeting this summer with Turnagain residents frustrated about crime, late-night partying and disturbances in Lyn Ary Park, Nave got the idea of surveying a neighborhood and coming up with solutions to specific concerns. Carson gave her the go-ahead.
Nave and three other CAP team officers — Araceli Jones, Gordon Korell and Natasha Welch, who has run APD's informational Neighborhood Watch program for years — visited Government Hill and Airport Heights for an "environmental assessment."
In September, Nave gave her first presentation, to the Government Hill Community Council.
There, she'd found that from 42 responses, the top five concerns were speeding, parking, drugs, theft and vandalism. She relayed police data in the presentation: Of nearly 900 calls to police from Jan. 1 to Sept. 7 of that year, one-tenth were related to parking. Officers took reports for 38 thefts, 15 burglaries, 36 assaults and nine incidents of vandalism.
Under a section called "Things I Noticed," Nave relayed observations from a visit to the neighborhood. She wrote that alleyways were dark and there were no streetlights behind homes. Parking was not clearly marked in the streets, making it easier for criminals to park anywhere and navigate the neighborhood, she said. Landscaping was overgrown.
Densely populated East Government Hill had the most calls for police service, Nave pointed out.
Then she made suggestions. Try motion-sensor lighting to bring more light to alleyways. Aim lights into parks for homes across from those areas. Ask the city traffic department about painting curbs for "No Parking" zones and putting up signs. Call the parks department and create a volunteer group to thin out overgrown trees and make more "natural surveillance."
Nave proposed "social pressure groups" of four or more to walk around at night and create an ambiance of vigilance. That strategy was deployed successfully this summer by Turnagain residents, who began holding gatherings outside the entrance to Lyn Ary Park late at night to remind people about the park's 11 p.m. closing time and no-alcohol laws. Calls for service there dropped, Nave said.
Nave doesn't want to, as she put it, "breed a band of vigilantes." But she said there are ways to make criminals more uncomfortable, to deter crime without confrontation.
"People want to do something, they want to help us," Nave said. "And there's things they can do."
In her Airport Heights presentation in October, where burglary and theft were the top concern, Nave indicated that theft was occurring because people were parking vehicles on the street, instead of in driveways. She also showed a photo of a street with no lights.
"When I checked the alleys I noticed there was plenty of room for vehicles in the rear driveways," Nave wrote in the presentation. "Residences need additional lighting."Airport Heights Community Council President Barbara Karl said she didn't know if the new suggestions have made a difference, but people were glad to have the information.
On Oct. 25, a few weeks after Nave's presentation in Government Hill, 29-year-old Ian Alex Bobich died in a shooting outside of an apartment building on Elm Street in the eastern part of the neighborhood.
Ian Alex Bobich, 29, was found shot to death outside this Elm Street apartment building just before midnight Monday, Oct. 24, 2016, in Government Hill. (Erik Hill / Alaska Dispatch News)
Nave responded to the crime scene in Government Hill. She said she felt defeated, like she'd let the neighborhood down.
But Melinda Gant, the Government Hill council president, said Nave's presentation gave her and her neighbors a better idea of how to move forward in the aftermath of the shooting. There was immediate talk of clearing overgrown trees near the apartment building. Gant contacted the property manager at the Elm Street complex to raise concerns about the number of people parking on the street.
"Robin had a nice mix of understanding rules and regulations, but also bringing in, 'Let's see how we can make this work for you,'" Gant said.
Nave is preparing to visit Rogers Park for a neighborhood assessment. She sees this year as a trial run for the survey. She and Carson expect to make a bigger push online early next year.
In the short term, Nave said, she hopes people will be more aware of their surroundings. She doesn't want people to accept that a neighborhood is the way it is, and see police as the only answer.
Her own research has had an effect on her. Nave previously didn't turn on her porch light at her West Anchorage home, wanting to save money.
But since starting the survey project, she keeps her porch light on.
"You start to make people understand, if I do one thing, it's probably going to prevent something else," she said.
Devin Kelly
Devin Kelly covers Anchorage city government and general assignments.


The Short Film Conference has been in existence since 1970 as non-profit association for the promotion of the short film. We are the only international organist in the world seeking to unite the global short film community.
Sedicicorto started in 2004 and is held every year in the month of October in Forlì. The Festival aims at offering visibility to young authors and at representing an opportunity of meeting and exchange among film industry professionals.
Known for its quality programming and the friendly welcome offered to all guests and professionals attending the event, over the years Sedicicorto has proven to be the Italian short film festival with the largest number of submissions (over 5,000 films submitted from 119 countries in 2016). Thanks to its consistent presence at the Clermont-Ferrand International Short Film Festival & Market with the Italian Short Film Corner – organized in collaboration with the Italian CNC and other Italian short film festivals – and thanks to the collaboration with the network of European short film festivals of the EuroShort Project – www.euroshort.com, Sedicicorto is constantly strengthening its image all over Europe.
The event aims at drawing the attention of the general audience, paying particular attention to children and the young audience with screenings and film literacy activities held during the Festival and all year round: among the others, Animare International Animated Film Festival, a festival entirely dedicated to children held during the summer in the seaside resort of Cesenatico.
ANIMARE is an animated film festival dedicated to children, held in the month of July in the seaside resort of Cesenatico. It represents one of the competitive sections of Sedicicorto and is being organized by the same festival: the call for entries is therefore also the same and the award is handed out during the closing ceremony of Sedicicorto.
Its peculiarity consists in the jury, among the youngest film festival jury in the world: 100 children from 4 to 13 years of age give their opinion on the films presented and choose the winners.
With the help of a varied and flexible language, ANIMARE aims at promoting film literacy, dialogue, and civic education. Children are the core of this event: with their special critical sense, they analyze and assess the films screened.


text:
Q: Keeping the punctuation marks after using preg_split at? I'm trying to split a string at question marks, exclamation marks, or periods, but at the same time I'm trying to keep the punctuation marks after splitting them. How would I do that? Thanks.
$input = "Sentence1?Sentence2.Sentence3!";
$input = preg_split("/(\?|\.|!)/", $input);
echo $input[0]."
";
echo $input[1]."
";
echo $input[2]."
";

 Desired outputs:
Sentence1?
Sentence2.
Sentence3!
 Actual outputs:
Sentence1
Sentence2
Sentence3

A: the manual knows all

PREG_SPLIT_DELIM_CAPTURE
      If this flag is set, parenthesized expression in the delimiter pattern will be captured and returned as well.

so in your case:
$input = preg_split("/(\?|\.|!)/", $input,NULL,PREG_SPLIT_DELIM_CAPTURE);

A: You can do this by changing the capture group in your regex into a lookbehind like so:
$input = preg_split("/(?<=\?|\.|!)/", $input);

redpajama_set_name: RedPajamaStackExchange


text:
package org.json4s
package jackson

import com.fasterxml.jackson.databind.{SerializerProvider, JsonSerializer}
import com.fasterxml.jackson.core.JsonGenerator

class JValueSerializer extends JsonSerializer[JValue]{
  def serialize(value: JValue, json: JsonGenerator, provider: SerializerProvider) {
    if (value == null) {
      json.writeNull()
    } else {
      value match {
        case JInt(v) => json.writeNumber(v.bigInteger)
        case JLong(v) => json.writeNumber(v)
        case JDouble(v) => json.writeNumber(v)
        case JDecimal(v) => json.writeNumber(v.bigDecimal)
        case JString(v) => json.writeString(v)
        case JBool(v) => json.writeBoolean(v)
        case JArray(elements) =>
          json.writeStartArray()
          elements filterNot (_ == JNothing) foreach (x => serialize(x, json, provider))
          json.writeEndArray()

        case JObject(fields) => {
          json.writeStartObject()
          fields filterNot (_._2 == JNothing) foreach {
            case (n, v) =>
              json.writeFieldName(n)
              serialize(v, json, provider)
          }
          json.writeEndObject()
        }
        case JNull => json.writeNull()
        case JNothing => ()
      }
    }
  }

  override def isEmpty(value: JValue): Boolean = value == JNothing
}

redpajama_set_name: RedPajamaGithub


text:
Q: How to add unprocessed strings to a DataFrame in python? I have a string object that is looking like this:
Numărul de camere
3 camere
Suprafaţa totală
77 m²
Suprafaţa bucătăriei
11 m²
Tipul clădirii
Dat în exploatare
Etaj
3
Locul de amplasare în casă
In mijlocul casei
Grup sanitar
separat
Balcon/lojă
2
Parcare
acoperită
Încălzire autonomă
✔

This is data parsed from a web site. I want to add the data to a DataFrame:
df = pd.DataFrame(columns=['ID','Numarul de camere','Suprafata totala',
                       'Suprafata bucatariei','Tipul cladirii','Etaj',
                      'Amplasarea in bloc', 'Grup sanitar', 'Balcon/loja',
                      'Parcare', 'Incalzire autonoma'])

Each second row of strings is a characteristic and I want to add it to his place in my DataFrame. How to do this?

A: text = """Numărul de camere
3 camere
Suprafaţa totală
77 m²
Suprafaţa bucătăriei
11 m²
Tipul clădirii
Dat în exploatare
Etaj
3
Locul de amplasare în casă
In mijlocul casei
Grup sanitar
separat
Balcon/lojă
2
Parcare
acoperită
Încălzire autonomă
✔ """

#split the string
s = text.split('\n')

import pandas as pd

d = {k:v for k, v in zip(s[0::2],s[1::2])}
df = pd.DataFrame([d])

print df.head()

# if you want to preserve the order of the columns
df = pd.DataFrame.from_items([('Values', s[1::2])], orient='index',columns=s[0::2])

print df.head()