Broadspectrum and its subsidiaries have a 40-year legacy in the mining and minerals processing industry and provide clients with the project delivery capability, maintenance and shutdown experience as well as the innovation and data analytics capability of one of the world's largest services and infrastructure companies, Ferrovial. Our resource and safety management, local content, community engagement and Indigenous participation leadership supports clients seeking additional value outside the cost and productivity efficiency delivered by our technical capability. Our Australian-based Centre of Excellence for Resources uses data analytics and smart asset management to drive optimal sustainable asset value to benefit clients' bottom line, while our and low-cost High Value Centre provides the most cost efficient service provision models.
We have long-established teams and facilities in key mining regions including the Pilbara region of Western Australia and at Olympic Dam in South Australia and have global experience executing shutdowns, asset management programs and maintenance. We work closely with industry associations such as AMMA and have an in-house Industrial and Employee Relations team that manages our local content and FIFO approaches. This capability complements our lean-based three-horizon contract journey plans which have already saved up to 30 per cent in operating costs for clients.
We are one of Australia's largest providers of brownfield projects, maintenance, shutdowns, drilling, dewatering and accommodation services to the mining and minerals sector. Our cross-sector capability provides systems, process and technology expertise for mine assets, including the associated power, rail and water infrastructure. Together with drilling and camp management subsidiary, Easternwell, drilling subsidiary, Gorey & Cole and engineering, design and project management subsidiary, ICD, we provide an end-end solution for the mining industry.
Interested in our Mining solutions?


Thread: Official RFO YouTube channel?
Would it be a crazy/unworkable idea to have an official RFO YouTube account for posting "how-to/help" videos?
It wouldn't have to be any sort of curated "only the best" library, or "officially" represent RFO anymore than any post/thread does. I think the point would be that it could serve as a more stable/long-term way of linking to videos, and be an official part of RFO in the same way as forum posts are.
Account info would only be given out to the top contributors and respected members.
Sure it's sloppy, etc., but I just thought this was a great example of showing a complicated concept in five minutes that would be rather impractical to write up in a post. (sorry Alex, feel free to delete the link if you want to ).
Alex Cunningham, elton williams and Munkholm like this.
I like the idea, is the only suggestion for YouTube one to get better coverage? Would "just" a sticky in "Tips & Tricks" not serve our community just as well? I'd be happy to contribute either way - although I've only ever made one jing.
Last edited by snowyweston; May 15th, 2013 at 07:33 AM.
having a youtube channel could expand the member base. I'm sure there are people that go straight to youtube for help videos in lieu of using a standard google search.
Who is going to administer the YouTube channel?
I don't know how it technically works, so this might not be practical, but I kind of assumed there wouldn't be any single administrator - it would just have have generic credentials like youtube@revitforum.org email address & password, and anyone with the login info could post videos to it. I want to stress that my thought isn't to create some sort of "perfect" library of videos (there would never be agreement on what should be included)... the point is to make it as easy as possible for select contributors to post videos to assist their posts, and ensure the links work long-term. It's the same idea as being able to post pics with posts (maybe some day will be able to do the same with video, but I understand the current bandwidth constraints of that).
I suggested YouTube because they're stable, free (or very low cost), not going anywhere, and seems to be a universal service accessible by most of the world. But it doesn't have to be YouTube.
Anyway, just a thought - you admins and mods can hash it out and decide if it's possible and worth giving a try.
cellophane, Alex Cunningham, iru69 and 3 others like this.
I'd forgotten all about that flyaround, hehe. I think promoting the RFO channel more is a great idea. With kind permission from the authors there are more you could upload straight away, (Julien's adaptive components video comes to mind).
Most Cool! The RFO YouTube channel and I share the same birthday!


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Protect Mustangs™
Forever wild and free™
Music 4 Mustangs™
Native Wild Horses
PZP is very dangerous
Slaughtering Wild Horses
WHBAct
Wild Horses Prevent Wildfires™
© Protect Mustangs
Premier tonight on HBO: How to Let Go of the World and Love All the Things Climate Can't Change by Josh Fox
Posted on June 27, 2016 by Protect Mustangs
We could lose everything we love to climate change, including wild horses and burros.
Watch Josh Fox's new documentary How to Let Go of the World and Love All the Things Climate Can't Change premiere tonight on HBO at 9 PM
© Irma Novak, all rights reserved
Here is Josh Fox's new film How to Let Go of the World and Love All the Things Climate Can't Change on Facebook: https://www.facebook.com/HowToLetGoOfTheWorld/?fref=nf&pnref=story
Protect Mustangs is an organization who protects and preserves native and wild horses.
Posted in Uncategorized	| Tagged Burros, climate change, fracking, Gasland, global warming, HBO, How to Let Go of the World and Love All the Things Climate Can't Change, Josh Fox, wild horses	| 4 Replies
San Francisco Supervisors Urge Halt to Fracking in California
Posted on January 15, 2014 by Protect Mustangs
Photo © Karen McLain Evening Light | Design by Anne Novak for ProtectMustangs.org
Californians Against Fracking Applauds Resolution Citing Fracking Pollution's Threat to State's Air, Water, Progress on Climate Change
SAN FRANCISCO (January 14, 2014)— The San Francisco Board of Supervisors today approved a measure urging a halt to hydraulic fracturing in California because of fracking's threats to the state's air, water and efforts to fight dangerous climate change.
The resolution, which was introduced by Supervisor David Chiu and passed unanimously, was applauded by 350 Bay Area, Center for Biological Diversity, CREDO, Food & Water Watch, Friends of the Earth and other members of Californians Against Fracking, a statewide coalition working to ban fracking, an inherently harmful form of oil and gas extraction that endangers California's air, water, wildlife, climate and public health.
"We are deeply concerned about the threats fracking poses to California's water, our coastal environment, and the well-being of people across the state, so the Board of Supervisors is urging a halt to this practice," said Supervisor Chiu. "As California studies the risks of dangerous forms of oil and gas production, it would be wise to follow New York's lead and halt fracking."
"We congratulate Supervisor Chiu and the San Francisco Board of Supervisors for taking a stand against fracking pollution's threat to California," said Hollin Kretzmann, an attorney with the Center for Biological Diversity. "This resolution sends a strong message to Governor Brown that we need an immediate halt to this inherently dangerous practice, which could undermine California's fight against climate change and do irreparable damage to the air we breathe and the water we drink."
San Francisco's resolution follows an Associated Press investigation that confirmed cases of water contamination from oil and gas drilling in four other states where fracking has boomed. Other local jurisdictions in California have weighed in on the issue of fracking, calling for greater regulation, bans or moratoriums, including Marin County, Santa Cruz County, Ventura County and Santa Barbara County.
"The oil industry and their allies in Sacramento would like us to believe that weak regulations can protect California from the dangers of fracking but we know that the only safe path is to halt this risky practice all together," said Ross Hammond of Friends of the Earth. "The San Francisco Board of Supervisors should be applauded for standing up and doing the right thing."
Fracking uses huge volumes of water mixed with dangerous chemicals to blast open rock formations and release oil and gas. Fracking releases large amounts of methane, a dangerously potent greenhouse gas.
The controversial technique has been used in hundreds and perhaps thousands of California oil and gas wells without regulation. Rules recently proposed by state officials would do little to safeguard California's air, water, wildlife and public health from the pollution generated by this inherently dangerous technique.
Oil companies are gearing up to frack large reservoirs of unconventional shale oil in the Monterey Shale. The area is home to some of the state's most productive farmland, critical water sources, important wildlife habitat and dozens of towns and cities from the Salinas Valley to the Los Angeles Basin.
Californians Against Fracking is a coalition of more than 150 environmental, consumer, business, faith, health, agriculture, labor, political, and environmental justice organizations working to win a statewide ban on fracking in California. For more information, visit: www.CaliforniansAgainstFracking.org
Posted in Uncategorized	| Tagged 350 Bay Area, air, California, Californians Against Fracking, Center for Biological Diversity, climate change, CREDO, Food & Water Watch, fracking, Friends of the Earth, Protect mustangs, San Francisco, water wildlife
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redpajama_set_name: RedPajamaCommonCrawl


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Category: goodbye journalism
Reshaping the Newsroom: The Future of Journalism
Steve Outing reached out to his network of colleagues in the news industry to find out what their biggest problem was: "Everyone's got work to do to put out the "daily miracle," but in an era when the old industry model is in decline, we can no longer afford to have a workforce where the… Continue reading Reshaping the Newsroom: The Future of Journalism
Categorized as goodbye journalism, innovation, journalism, journalists, news
After 126 Years: The End of a Newspaper
I think its only fitting to start the new year with fewer potifications on what great new technologies we will see, and give a sober look at what journalism and publishers are facing. After 126 years, The Cincinati Post has created their final edition. BusinessWeek writes: "Originally called The Penny Paper when it was started… Continue reading After 126 Years: The End of a Newspaper
Categorized as goodbye journalism, newspapers
Think Secret: Deadpool?!
I was surprised to read that Apple's lawsuit with Apple rumor website Think Secret has resulted in the site shutting down. Think Secret has long been a reliable source of Apple information, and from what I understand, run by a college student with a knack for reporting. The website Techcrunch gives a "deadpool" designation to… Continue reading Think Secret: Deadpool?!
Categorized as goodbye journalism
The Final Days of a Newspaper
The Cincinnati Post is shutting down come January 1. Editor & Publisher takes a glimpse inside the newsroom and speaks with the remaining staff: "There is life after journalism," [Editor Mark Neikirk, a 28-year Post veteran] says, but admits, "I liked going to battle everyday in the newsroom."
Do Journalists Fear "Comments" on Their Writing?
Journalism professor Clyde Bentley offers up reasons why some traditional journalists don't like the idea of anyone being allowed to add comments to their articles online: "[traditional journalists] were shocked at the lack of interest from the blog world when they wrote informative, well-crafted and traditional essays." "Journalists are steeped in a culture of insecurity.… Continue reading Do Journalists Fear "Comments" on Their Writing?
Categorized as blogging, goodbye journalism, journalists
Do Journalists Lack Faith in Their Audience?
Two journalists in Britain have each posted articles discussing whether "new media" is good for "traditional journalism." David Lee starts us off with this statement: "…in the rush to embrace new media we risk destroying the soul of traditional reporting." John Kelly responds: "There exists a certain lack of faith in the market when it… Continue reading Do Journalists Lack Faith in Their Audience?
Will "Page Views" Kill Journalism?
Jon Friedman is afraid that "most popular articles" listings on websites will adversely affect journalism: "The worst aspect to these lists is the fear that journalists, trying to win favor with their business-conscious editors, will lower their standards and write top-40 stories instead of pieces with actual depth."
Categorized as goodbye journalism, journalists
Your Duty to Save Journalism
Roy Peter Clark tells readers it is their duty to read a printed newspaper, in order to save journalism. The 89 comments that follow his article take apart the issue from all sides.
Categorized as goodbye journalism, journalism, print
The Relevance of Journalist Unions
Jeff Jarvis looks at reasoning behind resigning from the National Union of Journalists. "… the union, as with the print unions of old, cannot possibly adapt to meet the revolutionary demands of a new technology." "There is a difference, of course. The skills of compositors and linotype operators were eradicated by computer setting and on-screen… Continue reading The Relevance of Journalist Unions
Endangered Species: Journalists
Forbes has released "the worst jobs for the 21st century." "Another endangered species: journalists. Despite the proliferation of media outlets, newspapers, where the bulk of U.S. reporters work, will cut costs and jobs as the Internet replaces print. While current events will always need to be covered (we hope), the number of reporting positions is… Continue reading Endangered Species: Journalists


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Q: How to categorise flower species for classification of image first of all thank you for your attention for my questions. I believe that you do not hesitate to answer my question. My questions are below
1. I have so many various species of flower pictures in only one folder. Flower species are mixed in that folder. In order to run deep learning model it need to be sorted by species. How to sort them with their species into different folder? Doing this manually will take so many times and doing this manually is very hard to me. Please advise.

redpajama_set_name: RedPajamaStackExchange


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Q: Xcode Cannot symbolicate crash log in View Device Logs I installed my app into an iPhone via Xcode, then disconnect the iPhone from Mac, lauch the app ... crash.
Re-connect the iPhone to Mac, open Xcode > Devices > The iPhone > View Device Logs, but got the following result, it cannot symbolicate the crash in my code.
I also tried using the symbolicatecrash command, got the same result.
Last Exception Backtrace:
0   CoreFoundation                  0x1c623b38 __exceptionPreprocess + 124
1   libobjc.A.dylib                 0x1b8ab062 objc_exception_throw + 34
2   CoreFoundation                  0x1c623a80 +[NSException raise:format:] + 104
3   我的AppName                   0x00091410 0x89000 + 33808
4   我的AppName                   0x000d897a 0x89000 + 326010
5   我的AppName                   0x000d849a 0x89000 + 324762
6   我的AppName                   0x0009fb0c 0x89000 + 92940
7   我的AppName                   0x000dc9f6 0x89000 + 342518
8   libdispatch.dylib               0x1bcf1792 _dispatch_call_block_and_release + 6
9   libdispatch.dylib               0x1bcf177e _dispatch_client_callout + 18
10  libdispatch.dylib               0x1bcf5d00 _dispatch_main_queue_callback_4CF + 898
11  CoreFoundation                  0x1c5dfd64 __CFRUNLOOP_IS_SERVICING_THE_MAIN_DISPATCH_QUEUE__ + 4
12  CoreFoundation                  0x1c5dde14 __CFRunLoopRun + 844
13  CoreFoundation                  0x1c5310ea CFRunLoopRunSpecific + 466
14  CoreFoundation                  0x1c530f0c CFRunLoopRunInMode + 100
15  GraphicsServices                0x1dcdbb3c GSEventRunModal + 76
16  UIKit                           0x218b5e7e UIApplicationMain + 146
17  我的AppName                   0x000bfe56 0x89000 + 224854
18  libdyld.dylib                   0x1bd1e4e6 _dyld_process_info_notify_release + 26

My build-settings:
Deployment Postproccessing         NO
Strip Debug Symbols During Copy    NO
Strip Linked Product               YES
Strip Style                        All Symbols
Debug Information Format           DWARF with dSYM File
Debug Information Level            Compiler default
Symbols Hidden by Default          NO

A: Finally, I find out the reason: the PRODUCT_NAME includes Chinese charactors ....


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They're Back! Jason Mewes and Kevin Smith Begin Pre-Production on 'Jay and Silent Bob' Reboot
While most Americans took the day off on New Year's Day, Jason Mewes and Kevin Smith were hard at work in a pre-production meeting for their highly anticipated Jay and Silent Bob reboot
Dave Quinn
Dave Quinn is an Editor for PEOPLE, working across a number of verticals including the Entertainment, Lifestyle and News teams.
People Editorial Guidelines
Published on January 3, 2019 10:21 AM
Jay and Silent Bob are back!
While most Americans took the day off on New Year's Day, Jason Mewes and Kevin Smith were hard at work with producer Jordan Monsanto in a pre-production meeting for their highly anticipated (and long-promised) Jay and Silent Bob reboot.
"Spent the first day of 2019 having a #JayAndSilentBobReboot pre-pre-production meeting at our holiday-roomy @WeWork office!" Smith, 48, tweeted on Tuesday. "@JayMewes took this pic of me and @JordanMonsanto to both mark the moment and to document that we were the only dopes in Hollywood working on the holiday."
The message came hours after Smith had dubbed 2019 "the year of the REBOOT" on his Twitter, while posing as Silent Bob.
Smith has been teasing a new Jay and Silent Bob film since August 2017, when the actor and filmmaker announced he had written a script for another installment in the popular franchise by sharing an image from his laptop of the first page of a script titled Jay & Silent Bob Reboot.
"This is not a drill!" he wrote. "This is an actual image from my laptop! Yes, Kids, @jayandsilentbob are coming back!"
"I had the time of my life laughing while writing Jay and Silent Bob Reboot — a fun flick in which the Jersey boys have to go back to Hollywood to stop a brand new reboot of the old Bluntman & Chronic Movie they hated so much," Smith continued, of the movie's plot. "It's a tongue-in-cheek, silly-ass satire that pokes fun at the movie business's recent re-do obsession, featuring an all-star cast of cameos and familiar faces!"
Sarah Keayes/Getty
At the time, Smith said he was hoping to begin production soon. "Never give up, kids," he wrote. "You CAN do anything you want in life, so long as you're patient and malleable."
The characters of Jay and Silent Bob made their film debut in 1994's Clerks — which Smith also wrote, directed, and co-produced. Subsequent appearances for the duo came throughout the years in Mallrats, Chasing Amy, Dogma, and 2006's Clerks 2.
Eventually, the two scored their own film, 2001's Jay and Silent Bob Strike Back. In 2013, they were together again in the animated feature, Jay & Silent Bob's Super Groovy Cartoon Movie.
In addition to portraying Jay and Silent Bob, both men have worked on other projects. Mewes has acted in TV series like The Flash, Vigilante Diaries, and Hawaii Five-0. Smith has directed feature films like Zack and Miri Make a Porno and Tusk, as well as TV shows like Supergirl and The Goldbergs. He also appeared as himself in the FX series, Comic Book Men.
RELATED: Kevin Smith Shows Off 51-Lb. Weight Loss: 'I'm Ecstatic to Have Reached This Chunky Milestone'
Meanwhile, the term "reboot" has extra-special meaning for Smith, who got a second lease on life after suffering a massive heart attack last February following a stand-up set.
Since then, Smith has lost a significant amount of weight and become a Weight Watchers ambassador, debuting his healthy new look in August 2018.
"I started at 256 and now I weigh 205," he wrote on Instagram. "This is the lightest I've been since high school! My hope now is I can slowly lose another 10 with #weightwatchers and get down to my birth weight of 195! But for now, I'm ecstatic to have reached this chunky milestone!"
Kevin Smith's 'Clerks 3' Trailer: See Jay and Silent Bob Return 28 Years After Original Movie
Matt Damon and Ben Affleck Reunite in Kevin Smith's Trailer for 'Jay and Silent Bob Reboot'
Ben Affleck Is Up for Appearing in 'Jay and Silent Bob' Reboot Despite Fallout with Kevin Smith
Kevin Bacon and Kyra Sedgwick's Relationship Timeline
DC Films Says There Were 'Concerns' Over Amber Heard and Jason Momoa's Chemistry in 'Aquaman'
VIDEO: 'Mallrats', 20 Years Later – Where Are They Now?
Melissa McCarthy and Ben Falcone's Relationship Timeline
Star Tracks - Thursday, July 13, 2006
Kevin Smith on Reuniting with Ben Affleck After Major Fallout: I Got My 'Friend Back'
TV Shows Canceled in 2022, Including 'The First Lady', 'Mr. Mayor' and More
Jason Sudeikis and Olivia Wilde's Relationship Timeline
Kevin Smith 'Finally Finished' Writing Sequel to 1995's Mallrats During Quarantine
'The O.C.' Cast: Then & Now
50 and Thriving! Can You Believe These Gorgeous Stars Are AARP-Eligible?
Kevin Smith Opens Up About Reuniting with Ben Affleck for Upcoming Film After Fallout
Steven Spielberg's 'West Side Story' Remake Drops First Trailer During the Oscars — Watch Now


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New Snooker season: Riga qualifiers - update
Ronnie O'Sullivan wins Mark Williams 6-5 at Snooker Masters 2016 ... - xinhuanet.com
Amateur Welsh teenager Jackson Page has qualified for the first TV stages of the new season
by Chris Gaynor
3 June 2017 04:58 Sat 03 Jun 2017 04:58:34 BST
Welsh teenage potter Jackson Page has qualified for the TV stages of the Riga Masters, Snooker's first ranking event of the 2017/18 season. Page, only 15, missed out by a whisker on qualifying for the tour at QSchool back last month, where he came fifth in the Order of Merit. A fourth placer would have meant an automatic tour card award.
Page, who's been touted as one of Wale's up and coming talents in the snooker scene, has even played and practiced with the likes of Mark Williams, the former two-time World Champion, who received a walk-over to Riga's TV stages in Latvia.
The players of the season
Williams, the veteran at 42, will be hoping his new SightRight training will benefit him this season as he has not won a ranking event since 2011 - but came within a whisker of winning the China Open last season before the World Championships.
The Welsh potting machine said he was giving the new cue technology a go with his coach. SightRight is special cue technology which aids players in aiming and sighting and was developed by the top sports coach Steve Feeney.
It has been used by many top players from former World Champion Stuart Bingham to Martin Gould, German Masters winner in 2016.
The Riga Masters was won last year by Australia's Neil Robertson and this season is joined by another Aussie to turn professional, Matthew Bolton, the 2017 Oceania Championship winner, and nomination - as well as Kurt Dunham, in a second season of a two-year card.
This season the tour sees an extra seven Chinese players qualify for the Tour, as well as Germany's first professional player Lukas Kleckers, who has got off to a good start and won his first match in the qualifiers in Preston for the Riga event.
Tour veterans Jimmy White and the Irish former World Champion Ken Doherty also made the cut to Riga. Both were given the nod of a wildcard in events for the next two years alongside Thai player James Wattana.
Former 1997 World Champ Doherty disposed of the 2017 World Seniors Champion Peter Lines in Preston, who managed to keep a card for the tour through tour play offs.
Shining Welsh Beacons
From Wales, Duane Jones, who obtained his card from passing the arduous Qschool test, failed in a bid to make it to the final stages of Riga this time around.
He was beaten by England's Jamie Curtis Barrett.
Amateur Page took the U-18 IBSF World Snooker Championship in 2016, and this year he took the U-18 European snooker crown in Nicosia, Cyprus becoming the second Welsh player to win that event after Tyler Rees beat him the previous year in the event. The young potter from Ebbw Vale, Gwent, made a great impact last season as well as an amateur when he reached the last 32 of the Welsh Open.
Another Welsh veteran Matthew Stevens, a former World Championship finalist in 2005, also made it through to the final stages of the first ranking event of the season.
There are still 19 ranking events this season, with the replacement of the World Open, by the China Championship last season which was won by Ali Carter. This is now a full ranking event on the calendar.Previosuly, as a non-ranking event, it was scooped by John Higgins.
The Riga Masters TV stages begin on the 23rd June to the 25th, Friday to Sunday.
Chris Gaynor
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Read more on the same topic from Chris Gaynor:
Snooker: Joe O'Connor scoops English Amateur Championship in Gloucester Rejuvenated Power Snooker set for 2019 return Snooker: Key dates for World Seniors Tour


You are interested to drink a supplement or best collagen pills ? Collagen is one type of protein naturally produced in Your body. The body parts most often save the special protein it is muscle, bone, skin, blood vessels, nerves, and digestive system. The function of collagen for the body is to maintain the suppleness and strength of the skin, replaces dead skin cells, as well as prevent bone loss.
However, growing age, the body's ability into produce collagen will be reduced. This is what makes the skin of elderly people (elderly) so more wrinkles and dry.
Then how to increase collagen in the body? Is it okay to drink supplements collagen pills before and after ?
Currently sold cream containing collagen that claim to be able to make the skin look younger. In fact, the same as a moisturising cream other creams that contain collagen works only on the surface of the skin. Until now, there has been no cream that can restore collagen and eliminate wrinkles. Good cream which contains or does not contain collagen, it can not penetrate the skin.
However, the cream is quite effective in maintaining moisture and suppleness of the skin. To keep skin stay young, You are advised to consume healthy food, exercise regularly, and avoid things that can damage collagen.
How Do drink supplements collagen?
Collagen belongs to the protein sources that are not easily found from the source of the food material. You need to consume these kinds of certain nutrients to trigger the production of collagen in the body. The nutrients necessary to produce collagen in the body include vitamin A, vitamin C, vitamin E, and protein. You can get the intake of diverse types of vitamins and protein from fresh foods such as vegetables, fruits, lean meats, and nuts.
If the intake of natural collagen to Your body still less, You can fill it from the supplement of collagen. Currently, already widely circulated a supplement of collagen to help nourish Your body.
Supplement collagen may and well taken, with the condition You should consult with your doctor and Your nutritionist. To determine whether You indeed require additional collagen from supplements or not. In choosing a supplement of collagen, the content of collagen is as should be according to the dose Your body needs.
Various supplements collagen available in the market in a variety of preparations. Supplement collagen oral available in the form of pills are generally to help relieve the symptoms of osteoarthritis.
Ointments or creams containing collagen are also available. Collagen injections also be one form of additional supplement of collagen. In addition, injections of collagen are generally used to help reduce wrinkles, but its use should not be indiscriminate, it must be with a medical expert.
The same is the case with drugs, supplements collagen also has some side effects that You need to know. It is that made You need to consult first with your doctor or dietitian before You drink supplements collagen.
The levels of high calcium or hypercalcemia is likely to occur because of the side effects of the supplement of collagen. Tablets of collagen derived from marine sources, such as shark cartilage, contains calcium in high quantities, which can significantly increase calcium levels people who take these supplements.
Normal levels of calcium in the body ranges between 8.5 to 10.2 mg/dl, if higher than 10.2 mg/dl is considered hypercalcemia. Too much calcium in the body causes constipation, bone pain, fatigue, nausea, vomiting and abnormal heart rhythms.
Hypersensitivity reactions can occur as a side-effect of the supplement use collagen. As reported by the National Institute of Allergy and Infectious Diseases, hypersensitivity reactions occur as the response is not normal of immune system to allergens such as food, medicines, and supplements.
Supplement collagen derived from fish shells and marine sources can cause an allergic reaction. Supplement collagen other that come from eggs and their derivatives can also cause food sensitivity.
Supplement collagen made from marine sources usually leave a taste and odor in the mouth of the person consuming it. Drinking fruit juice together with a supplement of collagen can reduce the odor in the mouth.
Decreased production of collagen making the skin lose its elasticity. As a result, the skin loosens as well as resulting in fine lines and wrinkles. This is normal and will happen to everyone when subjected to aging. Besides age, there are other things that could make the production of collagen decreases or broken prematurely.
Exposure to ultraviolet radiation (UV) in the long term can accelerate aging. Sunlight can break down collagen and damage the elastin fibers contained in the layers of skin (dermis). The destruction of collagen and elastin as a network sustainer makes the skin lose elasticity, to become loose and appear wrinkles.
The nicotine in cigarettes causes narrowing of the blood vessels in the outermost layers of skin, so that the flow of blood to the skin become not smooth. As a result, the skin is deprived of oxygen and essential nutrients. In addition, the thousands of chemicals in cigarette smoke can also damage collagen and elastin. The skin becomes loose and wrinkled before its time.
Some research showed that less sleep or poor sleep quality can have an effect on premature aging and skin that looks dull. This case allegedly occurred because the impact of sleep deprivation on the immune system, thereby damaging the collagen in the skin.
Eating foods high in sugar can accelerate aging. Sugar in the blood attached to proteins to form new molecules called advanced glycation end products (AGEs). These molecules can damage the collagen and elastin.
All people must often express his mood by laughing, frowning, or squinting. Eksrpesi face this form of fine lines and wrinkles on the facial skin. As we age, the skin loses elasticity, so fine lines and wrinkles will settle.
to ensure adequate intake of collagen You stable when You are above the age of 25 years, then there is some source of food that can be taken as a source of nutrients to help collagen production in the body.
In one study published in the International Journal of Cosmetics, it is mentioned that vitamin C has an important role in the formation of collagen in the body. The consumption of collagen, along with vitamin C and glycosaminoglycans have been studied can help the health of the skin.
Supplement can help for its content can be trusted and listed clearly on the product. The consumption of collagen still doubt whether it can help the health of the skin. The interaction between multiple sources nutrisilah that are proven to help the health of the skin.
Effectiveness and safety will be known if it can be clearly know the content of supplement products. Pay attention to the content of the product to be able to consider its usefulness for yourself.


Welcome to the Inverness Best B&B website where you will find a selection of excellent Inverness B&Bs and Inverness Guest Houses all offering quality bed and breakfast accommodation and the best Highland Hospitality. All of the featured B&Bs are located in and around the City of Inverness, the Capital of the Highlands of Scotland and each B&B has been quality assessed with Star Ratings from 3-Star to 5-Star by The AA or Visit Scotland, the Scottish Tourist Board.
We have a choice of B&B accommodation including stunning Victorian villas, other historic buildings and modern, purpose designed buildings. Our aim is to ensure that our guests find the perfect accommodation and have the most memorable visit to Inverness. Each B&B has its own unique characteristics to accommodate a wide variety of preferences and budgets offering facilities for business travellers, photographers, historians, walkers, runners, golfers, nature lovers, Nessie hunters and those that just want to relax and enjoy the beauty that Inverness, Loch Ness and the Highlands has to offer.
All of our Inverness B&Bs, Guest Houses, Bed And Breakfasts and Hotels have great reviews on TripAdvisor the world's No. 1 travel review website and some feature in top travel publications such as Fodors, Lonely Planet, Frommers, the Rough Guide, Idiots Guide to Scotland, Secret Scotland and many more. Some of our accommodation providers have also won travel and hospitality awards.
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Please click on any of our featured Guest Houses and B&Bs on the slider photo banner above or the links below to see more information about the Bed And Breakfast Accommodation on offer in Inverness.


text:
'W.B. DuBay's The Rook Archives Volume 3:' Hardcover Review
In general, I find that the adventures in The Rook are better when they feature more of stalwart protagonist Restin Dane and less of his grandfather, Bishop Dane. While this volume starts out with a very heavy dose of Bishop, mercifully, he becomes, for the most part, less important and less prominent as things progress.
'Coyotes #1:' Comic Book Review
Coyotes is a unique tale in how its narrative is designed and unfolds. Sean Lewis certainly has an idea for his Western tale that he spins. With the jarring opening, Lewis uses this to put the reader in the middle of the story. It causes us to ask questions about what exactly is happening and why the new officer on the force ended up in such a situation. And then, we are introduced to our main protagonist who seems to be the one responsible for exactly what was happening. The officer moves into the next situation and seeks to take the girl to be questioned.
'Adamant #3:' Comic Book Review
Adamant, the world's most indestructible superhero, has been displaced in time and now finds himself in a dark, dystopian future he can barely understand, full of deadly machines and talking frogs. When we last left our hero, he was having trouble wrapping his mind around the fact that his former arch-nemesis, Dr. Alpha, is now the leader of the underground resistance trying to keep people safe from the evil new regime. And as if that wasn't enough, it turns out that the person responsible for this evil regime is none other than a future version of Adamant himself.
Tuesday, 07 November 2017 16:49
'Eugenic #2:' Advance Comic Book Review
The third and newest mini-series in a thematic anthology of Cronenberg/Black Mirror-style stories by creators James Tynion IV (writer) and Eryk Donovan (artist) isn't the story of one character, or even a few. It is the story of a civilization. Eugenic is ambitious, telling individual stories at different points in time as we follow the trajectory of our civilization after genetic tampering, which was originally supposed to save us from a terrible virus. Instead, it changed us, or at least most of us. Those that were changed became hideous, purple creatures without sexual identity, race, or physical symmetry. How could they be hated when there was nothing to tell them apart. Like some deformed Picasso painting, physical beauty no longer matters. I said most changed, as the ones unaffected by the genetic alteration have become, in a way, biological slaves to the superior beings.
'Grass Kings #9:' Advance Comic Book Review
I have such up and down feelings for Matt Kindt and Tyler Jenkins' series, Grass Kings; some issues are wonderful, and other issues are missing a connective tissue that would otherwise pull me into the journey that the characters find themselves on.
'Harrow County #27:' Advance Comic Book Review
Issue #27 of Harrow County was an emotionally harrowing endeavor. Like all the best horror stories, the things we fear the most are beginning to happen, and our hero, Emmy, has been pushed and pulled in so many directions over the course of this series that what she will do next is anyone's guess. Talk about a cliffhanger!
'Sliced Quarterly #8:' Comic Book Review
Got to kick at the darkness 'till it bleeds daylight.
'Irrational Numbers #2: Subtraction' – Comic Book Review
Spoilers from the prior issues revealed below.
After ending on a dramatic cliffhanger in issue one of Irrational Numbers: Subtraction (Wunderman Comics) in which Zalmoxis kills himself rather than persist as the negotiator of peace between Sofia and Medea, in this issue, the story picks up forty years later and, as promised, it is all-out war. Sadly, Zalmoxis' death has been in vain, because the ladies have remained committed to pitting their vampyr armies against each other during the intervening decades leading up to the 1989 Romanian Revolution. An unknown enemy, identified as The Reaper, has not let up pursuing and reducing the numbers of vampires, regardless if they are Akousmatikoi or Mathematikoi.
'Clue #5:' Comic Book Review
Clue has been a series that should not end. Yes, the premise is such that the narrative will end because of how things are done with Clue. Yet, the storytelling and characterizations of all of the people in the story have been great. There have been no problems whatsoever with anything happening within the story. What is truly notable is exactly how Paul Allor (writer) and Nelson Daniel (artist) were able to take the story from a classic film and turn it into an amazing series that not only stays true to the original film but makes it modern, so it doesn't seem out of place for today's audiences.
'Clive Barker's Hellraiser Omnibus Volume 1:' Advance Trade Paperback Review
Have you ever passed someone on a poorly lit street and felt unsettled, but familiar? A wash of emotion wisps by in an instant, while faint memories echo through your mind. A complete stranger, minding their own business, and suddenly you're aware of them. Personally. Perhaps in the past or in an afterlife that no longer exists you knew that person, and that person is real. You can feel it in your racing heart and the cold marrow of your bones. And you smile. That stranger was just an old colleague that you've not seen in a long while that could have been kept longer if you had only let good enough be. An old colleague whose business is you.


text:
Q: Callback after emit() I have this Parent Component:
export class VdsPickerComponent implements OnInit {
  @Output() onSelect: EventEmitter<any> = new EventEmitter();

  select(value) {
    this.onSelect.emit(value);
    console.log("should run second");
  }
}

and this child Component
export class AppPickerComponent implements OnInit {
  select(value) {
    this.api.getApplication(value.id).subscribe(res => {
      console.log("should run first");
      this.context.currentApplication = res;
    });
  }
}

And this is the html of the AppPickerComponent
<vds-picker [(value)]="this.context.currentApplication"
            [(currentValue)]="this.currentApplication"
            description="description"
            placeholder="Choisir une application..."
            [editTemplate]="appedit"
            [readonly]="readonly"
            [showActions]="showActions"
            [results]="results"
            (onFilter)="filter($event)"
            (onSelect)="select($event)"
            (onCreate)="create($event)"
            (onUpdate)="update($event)"
            (onSubmit)="submit($event)"
            (onOpShow)="onOpShow($event)">
    <ng-template #appedit>

<input #appcode type="text" style="width: 150px;" pInputText [(ngModel)]="this.currentApplication.code" placeholder="Code" oninput="this.value = this.value.toUpperCase()" [disabled]="this.currentApplication.id" />

<input #appdesc type="text" style="width: 400px;" pInputText [(ngModel)]="this.currentApplication.description" placeholder="Description" />

<input type="text" style="width: 400px;" pInputText [(ngModel)]="this.currentApplication.thirdPartyGetEndpoint" placeholder="Uri vers le endpoint GET pour les autorisations" [disabled]="!thirdparty.checked" />

<input type="text" style="width: 400px;" pInputText [(ngModel)]="this.currentApplication.thirdPartyPostEndpoint" placeholder="Uri vers le endpoint POST pour les autorisations" [disabled]="!thirdparty.checked" />

    </ng-template>
</vds-picker>

Now, I would like to have a callback on the emit(), so that once my event is finished (and successful), I can do some additional work in the parent Component.
How can I make the above code log in the console :
should run first
should run second

EDIT:
Giving a more concrete example of what I aim to achieve. So I will have an @Output() onSubmit I want to provide a function that will do the job to call the backend and handle the success/errors. The submit form is in an overlayPanel and once the backend call is a success, I want to hide the panel. If there were validation errors, I don't want to hide the panel and I want to show an error message inside the panel. I don't want the user to think about hiding the panel if it's a success, the component should handle that itself.


text:
is a Japanese manga written and illustrated by Takashi Kanzaki. It is licensed in North America by Digital Manga Publishing which released the manga on January 29, 2009.

Reception
Michelle Smith, writing for PopCultureShock, found the use of hypnosis to be "disturbing", and was "bugged" by the ending, which leaves Naruki with a permanently split personality.  Rachel Bentham, writing for Active Anime, felt it was an "interesting mix of super naughty meeting super funny". Although Leroy Douressaux described Double Trouble as "a comedy about the pure, naked lust of young men", he also noted the themes, saying "If incest, manipulation, and love triangles can be spun into a quality romantic drama, Takashi Kanzaki has already proved she can do it."

References

2002 manga
Digital Manga Publishing titles
Tokuma Shoten manga
Yaoi anime and manga

redpajama_set_name: RedPajamaWikipedia


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text:
Konstorganisationer
Konst och utrymme
bok x 3
Kirsten Forkert och Patrik Aarnivaara
Download the article as pdf, 120 Kb.
About Kirsten Forkert
About Patrik Aarnivaara
PROFESSIONALIZING THE ROMANTIC, OR,
LEARNING TO BEHAVE LIKE AN ARTIST
Today Stockholm's newest art fair is straight forwardly called "Market". And this year it is sponsored for the first time by the American bank Morgan Stanley. This is another sign of a time where art and capital goes hand in hand.1
Parts of the art world have been put in the dark and the art boom is mainly connected to young artists. There is ruthlessness in the search for new artists – if the art practice isn't consistent and in good form, then you look somewhere else. 2
For Goethe the world of organisms accommodate the same inner secret as art and thus it is only through the form that one could sense this secret. 3
Our text is an attempt to map out how seemingly contradictory concepts intersect and mesh with each other within the art field and art education in Sweden: Romanticism and professionalization. Contradictory, because we generally think of Romanticism as a deliberate rejection of the conformity and managerial calculation associated with professionalization. Our starting point was noticing three developments in the art field in Sweden, and wondering whether or not they might be related 1) articles in the media heralding a 'Romantic shift' in contemporary art, 2) the expansion of the art market and the 3) professionalization of art education.
If these developments can be read as symptomatic of our present political/economic conditions, what do they reveal? Might they be a response to an increasingly competitive situation, the naturalization of values of enterprise culture and an underlying sense of political disempowerment? Our intention is not to argue for one style or medium over another, but to question the intersection between the market and conventional definitions of both art and artists. We will attempt to trace the rise of these phenomena through media coverage and exhibitions, particularly Remembrance of the Subject Past, which took place at the Bonniers Konsthall in 2007, and also discuss the hype around the 'experience economy' as well as market pressures in art education.
For philosophers, poets and artists such as Friedrich von Schelling, William Wordsworth and Joseph Anton Koch, Romanticism in the seventeenth and eighteenth centuries was a reaction against the Enlightenment and the Industrial Revolution, and, in an art historical sense, a rejection of the norms of classical art taught at the academies. We are arguing that the current appeal to Romanticism is a response to the increasing commercialization of the art field both through the expansion of the art market, and the entrepreneurialism promoted by creative industries and 'experience economy' rhetoric and policy. We see this appeal as both symptomatic of market pressures (through foregrounding the individual and de-emphasizing social conditions) and also as reactions to them (through impulses towards escapism, nostalgia, mystery, and purification, i.e. opposing the purity of high art to the corrupting influences of consumer society). In relation to the professionalization of education, our hypothesis is that students learn to adopt the 'romantic artist' role as an ideal subjectivity for market success: in other words, 'learning to behave like an artist'. We will begin by discussing how aspects of historical Romanticism are taken up today.
Few romantics would have disagreed with Coleridge's opinion "that deep thinking is attainable only by a man of deep feeling." And because of this emphasis on "feeling" they also insisted on man's individuality and freedom of will. In his monologues Schleiermacher tells how he revolted against the notion, still strong in Kant and Fichte, of a "universal reason," the same in all men. It finally dawned upon him—he calls it his "highest intuition"—"that each man is meant to represent humanity in his own way, combining its elements uniquely." 4
Historically, Romanticism was not one political, aesthetic, or philosophical development but several, some of which contradicted each other (including revolutionary politics, libertarian individualism and authoritarianism). The aspects of historical Romanticism that seem to be taken up today are those that privilege the role and subjectivity of the artist, in connection with the definition of art as an autonomous field. Social and economic shifts in the seventeenth and eighteenth centuries led to the loss of the aristocracy's power in Europe, and the emergence of a merchant class who was interested in collecting art as symbols of social status. The result was that artists were no longer immediately dependent on commissions from aristocrats or the church, but on the interest of those who would buy their work. This freed artists from the obligation to represent religious rituals or depict the aristocracy (while creating other dependencies). The seventeenth century also marked the emergence of aesthetics as a separate discipline and the beginning of modern art criticism. 5 This led to the definition of artistic practice as a liberal art rather than a craft, and the centrality of the artist as an autonomous, creative individual. The result was that the figure of the artist was as important as what he/she produced, and the artist's subjectivity and autobiography became the framework for the interpretation and judgment of artworks. In her lecture for the the 2006 MyCreativity conference, Marion von Osten connected the artist as exemplary figure to the increasing importance, in the seventeenth century, of the values of private property and personal aptitude combined with more traditional definitions of the male genius. 6 The artist's exemplary status also in some ways led to his/her outsider role. It could also be argued that this basic perception of the artist never really went away, as much as it has been challenged by aspects of the avant-garde, not to mention feminism and postcolonial theory. We feel that it is important, however, to ask about the implications of specifically referring to Romanticism to name a new tendency in art, contrasting it with nineties art practices such as relational practices or interventionist art, which are now yesterday's news:
Fänge, with his new surrealism signifies a direction in contemporary art that looks more toward the hunting-grounds of fantasy than the thematically oriented social critique that has been dominating during several years. 7
In art one has talked about a Gothic sensibility and how artists have turned to the domains of fantasy and the fantastic. This is what the three curators formulates as the reaction against the programmatic political art that has been leading during several years. 8
Now when social criticism has cooled down the temperature rises with literature. And what can be better in our troubled times than a retrospective, absurdist and 'new romantic' art? 9
Beyond this naming of a new tendency, we have seen few attempts to translate the history of Romanticism into the present context in any systematic way, or make a serious argument for its relevance today. This leads us to ask if what we are in fact witnessing is a kind of fragmentary, postmodern pastiche or even simulacral Romanticism. In Postmodernism, Or, the Cultural Logic of Late Capitalism Fredric Jameson uses the term 'surrealism without the unconscious' 10 to describe 1980s Neo-Expressionist painting, particularly the work of David Salle (and as a side comment, we feel there are interesting comparisons to be made between the present moment and the US painting boom in the eighties). Jameson later uses another phrase, perhaps more relevant: 'surrealism without its manifesto or its avant-garde' 11: in other words, the use of aesthetic strategies associated with previous historical movements (in this case surrealism) but without the content or the politics. Historical quoting/recycling was identified in the 1980s as a key aspect of postmodernism, opposition to modernism's ahistoricism, suppression of external references and fear of kitsch. Some have argued for the subversiveness of this approach 12. However, it can also have the effect, especially when referring to canonical works of art, of creating 'instant prestige': to reference Goethe is to immediately invite comparison. It is now twenty years since 'high postmodernism' and we are asking whether historical quoting has now become a kind of convenient automatic reflex, making it easier to refer to previous (art) historical movements such as Romanticism solely for prestige purposes, but without the irony, parody or ideology critique associated with the 1980s.
There is a chapter in Luc Boltanski and Eve Chiapello's The New Spirit of Capitalism entitled 'The Test of the Artistic Critique', which they define as the reaction against the inauthenticity and standardization of consumer society which was an important part of May 68. They also trace its geneaology to the nineteenth-century concept of art for art's sake, especially the rejection of the conformity and materialism of the bourgeoisie. The chapter discusses the fate of this 'artistic critique' in what Boltanski and Chiapello term a 'connexionist world' 13, similar to Manuel Castell's 'network society' 14 where it is increasingly difficult to distinguish between social interactions and business transactions. They argue that 'the connexionist world' is defined by a tension between two contradictory requirements: on one hand to be continually flexible and adaptable, but also (particularly in fields where it is important to distinguish oneself, such as artistic and intellectual fields) to present an authentic self, in possession of unique qualities:
To the extent that in his person, his personality, he possesses this 'something' which is likely to interest them, he can attract their attention and obtain information or backing from them. But for that he must be someone that is to say, come with elements foreign to their world and regarded as being specific to him.15
Boltanski and Chiapello argue that the connexionist world paradoxically demands the performance of the unique self, and the codes and signifier of authenticity which they term the 'grammar of authenticity'16 , rather than leading to its rejection. We are proposing that this dynamic increasingly characterizes the art field. To some degree this has always existed; given the discipline's historical associations with individual genius (as mentioned earlier), the ability to embody, within one's own personality and biography, qualities which one alone possesses, has always been a requirement for success. However, this dynamic also increasingly reflects the position of the artist in relation to the rest of society: the requirement for artists to perform the authenticity we fear we are losing—and to speak using the 'grammar of authenticity'.
We will now trace a brief timeline of both the expansion of the market and 'new romanticism' in Sweden, with the intention of tracing changes in the art scene, but also keeping in mind that these developments can influence art students by presenting models for emulation and signaling what will be rewarded. In 2003, the DNA (Diesel New Art, sponsored by the jeans company Diesel17) competition was established, receiving over 900 contributions. Around this time, the artists Jockum Nordström and Mamma Andersson became very successful both in terms of exhibitions and the art market. We are mentioning them because they represent recent examples of Swedish artists who are very commercially successful. 2006 saw the establishment of 'Market' 18, a Stockholm art fair sponsored by the US bank Morgan Stanley, the advertising agency Storåkers McCann, and in collaboration with Konstakadamien. In 2007, the credit card company Diners Club started the Konstlistan 2007 competition. Students from all art academies in Sweden, Denmark, Norway and Finland send in documentation and a jury chooses 10 artists from each Nordic country. During the same year, two exhibitions took place: Remembrance of the Subject Past at the Bonniers Konsthall in Stockholm (also a student competition exhibition), and Painting, Space and Society at Göteborgs Konsthall. While Painting, Space and Society does not focus on romanticism per se, we are mentioning it because the media coverage discusses both the ascendance of the market and a 'new surrealism'. 19
Remembrance of the Subject Past 20 is significant, in part because it raised the discussion of 'new romanticism' and 'Romanticism' within the culture press, but also or mostly because it was curated through student competition, which at this point is a relatively new phenomenon in Sweden. The title of the exhibition is significant, with its evocations of individual subjectivity, nostalgia ('the subject past') and through the reference to Proust's now-canonical work, allusions to both the author's reclusiveness and to the prestige of high culture. The exhibition encompassed a range of different practices, in a variety of media including performance, sculpture, video and photography. What brought these works together was not specific formal or stylistic issues but their content: a focus on individual subjectivity in general, on the subjectivity of the artist in particular, and on introspection. The accompanying text, written by the exhibition's curators (Marianna Garin, Camilla Larsson and Sinziana Ravini) and entitled The Eternal Return of the Romantics describes introspection, or 'productive melancholy' as the 'exhibition's red thread' 21, as students search for the "right to their own voice and space, both in the world and in art". 22 The curators argue that the exhibition takes a position against Nicolas Bourriaud's Post-production 23 explicitly creating a binary between Romanticism and relational aesthetics (though it could be argued that Bourriaud does not really challenge the traditional definition of art or artists, writing mainly about individual practitioners and institutionalized practices). The curators ask if one can draw the conclusion that today's political situation and impending environmental crisis produce hopelessness, carrying the same destabilizing and disempowering effect as the shift from the Renaissance to the Romantic period, leading to both an intropsective tendency and a fascination with transgression. This provoked the following questions, in a review by Mårten Arndtzén on Sveriges Radio:
Why take the dust of the romantic artist role at this moment in time? What is it with the lonely genius, with or without a Basque on the head isolating himself in the studio and exploring the inner self? Why is this suddenly attractive again- after a decade of social engagement and collectivism? Have we simply got tired of all the fuss? That never stops despite of all the engaged art videos made about it. Or is it because they were so difficult to sell and right now the market screams after young art? 24
We will now ask, what is the relationship between this 'new romanticism' and professionalization, signaled by the curation of exhibitions by student competition, such as ROTSP)? We are arguing that it is ideally suited for several reasons. First, because it has a close relationship to the perception of the artist within the popular imagination (one only has to think of how artists are represented in the mainstream media), it is easily recognizable and marketable. Second, because unlike historical Romanticism, it does not seem to be connected to a particular philosophy or political ideology (although in the case of historical Romanticism, this was often a reactionary ideology). This means 'new romanticism' runs no risk of offending or alienating other art professionals, audiences or potential buyers. This also frees artists under pressure to connect with a dealer and sell work, from the obligation of committing to a political position. Thirdly, the references to historical Romanticism operate as signifiers for "high culture' and reassure us that art still has a special status at a time when artistic autonomy seems to be under threat. The expansion of the art market and its implications (the explosion of art fairs or increasing market pressures in art education) raises the spectre that the art field may now be structurally operating in a way that is closer to other, more obviously commercialized fields such as Hollywood film or mainstream music industries. Within this context, Romanticism, with its historical weight, symbolic capital and high culture associations, reassures us that art has not been subsumed into the entertainment industry, and that the subjectivity of the artist is still more unique and special than the film celebrity or rock star. In other words, we are seeing the assertion of the boundaries of high art to resist the culture industry—or, as it is defined today, the "experience industry'.
Richard Florida's book, The Rise of the Creative Class, was translated into Swedish in 2006, 25, when he also gave a lecture tour of the country. Florida's theories emphasize connection between the cultural sector and technological innovation, promoting a fundamentally entrepreneurial definition of creativity. This is also the approach taken by KK-Stiftelsen, a foundation which was started in Sweden in 1994 with the goal of promoting closer ties between education and business, the use of IT, and the development of the 'experience industry' 26. According to the Swedish Trade Council's website (which also features a quote by Florida praising Sweden), KK-Stiftelsen identifies thirteen areas within the experience industry: 'Architecture, Art, Computer games, Design, Fashion, Film/Photo, Food&Drink, Literature/Publishing, Market Communication, Media, Music, Performing Arts and Tourism' 27. The experience industry categorizes art together with design or fashion, or even more blatantly commercial activities such as marketing, the restaurant industry or tourism. In contradiction to this but consistent with dominant perceptions of art, 'new romanticism' maintains the boundaries between art and the other fields. Instead of crossing over with fashion or gaming, the art field operates in this context as a kind of niche market for luxury goods. Appealing to Romanticism can be a way to preserve this niche status within the experience industry paradigm. This approach has already been taken up within the UK (where 'creative industries' policy has been implemented since the early 1990s) as Anthony Davies describes in Basic Instinct: Trauma and Retrenchment 2000-2004.
Davies identifies a back to basics' impulse within business, politics and culture in the UK, in the wake of 9/11, the dot-com crash, and within the art field, the controversies surrounding Young British Art, 28 and the culture wars of the 90s. Davies describes how this is reflected through an inward-looking tendency within contemporary art, described as 'new gentleness'29 He connects this shift to cultural policy encouraging a domestic UK art market. Are we now seeing the same development in Sweden: a desire to 'return to the drawing board', in terms of conventional definitions of art and artists, in connection with an expanding art market? To discuss this fully is beyond the scope of this text, but we are also asking whether, similar to Davies's observations, we are seeing a tendency towards escapism and retreat into the private sphere, in the face of uncomfortable realities of increasing economic uncertainty and inequality, destruction of the welfare state or climate change. Does art play a role in this impulse towards escapism and retreat, in a refurbished version of Matisse's armchair? 30. And if it is doing so, is it in part out of a sense of exhaustion with nineties practices such as relational aesthetics, and the more institutionalized aspects of site-specific art? We should acknowledge that what we have seen of calls for 'new romanticism' simply dismiss nineties practices as passé but do not engage with its problems. However, if this shift is also motivated by a sense of fatigue and cynicism with critical practices (if critique does not lead to change, then why not just make money?) then we feel that nineties critical practices should also be interrogated.
It is a truism that the art world has always limited art's potential for social change. However, serious questions need to be asked about the aestheticization and institutionalization of critique: whereby critique becomes largely a symbolic gesture and does not lead to any real change. We would like to focus on two aspects of this problem. The first, which we see as inspired by aspects of post-structuralism, Hardt and Negri and others, is a sense of melancholic institutional determinism connected to the phrase 'no outside', and related to this, the judgment that proposing any solution or taking a position is a reductive, unsophisticated simplification. We would like to ask whether the hopelessness of this perspective could lead, as a reaction, to the current idealization on the artist as outsider figure, or the withdrawal into interior fantasy worlds. The second aspect of this problem is the contradiction of apparently open-ended democratic structures (exemplified by the "platform', the topic of both Pernille Albrethsen's critique, Platform Formalism31 and Claire Bishop's Antagonism and Relational Aesthetics) 32 within hierarchical and in some cases exclusive settings such as museums and biennials. Both Albrethsen's and Bishop's critiques point to how this apparent 'democracy' can mask actual power relations, and ask questions about responsibility: who participates, the nature of participation, etc. The problem is that it can become very tempting to see responsibility in individual terms, which Bishop does, and the last part of her text calls for a return to aesthetic autonomy and individual authorship. 33 Our position is that we should neither dismiss nineties approaches for the sake of fashion nor defend them uncritically, but instead seriously re-evaluate the relationship of art, and art institutions to political responsibility and agency.
Having discussed 'Romanticism' and reasons for its recurrence today, we will now take up the second concept in our title, 'professionalizing', specifically in relation to arts education. To connect the professionalization of education to 'new romanticism', we are arguing that art schools are becoming places where students learn to play the role of 'professionalized romantics', because, for the reasons mentioned earlier, this role fits very easily with the demands of market success. More disturbingly, because it emphasizes the individual artist, and de-emphasizes the wider social context, the professionalized romantic is not encouraged to question the values of individualism and competition prevalent in art education, and which are intensifying as art schools compete with each other on for reputation on an international scale.
A phenomenon we have noticed in casual conversation is the hype surrounding 'hot' art schools. When asked to explain why particular schools are 'hot', people rarely give concrete information that would make the education at one school better than another. Aside from rumour, we speculate this may reflect: 1) the number of famous artists who have graduated from the school, 2) the number of famous artists who have taught at the school, 3) the ease in getting a dealer either while in school or immediately following graduation, and 4) the visibility of the school within the international art scene, based on the other three factors, or how aggressively the school markets itself.
Of course, competitiveness and prestige economies have always existed within art education, but at the moment it could be argued that art schools have more at stake in their reputation in both the international contemporary art scene and the market. In other words, instead of operating as more or less autonomous spaces for experimentation, art schools function increasingly as a conduit to both the art market and the contemporary art scene. This is similar to the pressures on other forms of education (to produce recognizable results of success) but different in that, unlike design education for example, the focus is not on employable skills. Instead, we again see the contradiction of both promoting the market, and on the other hand, conventional definitions of artistic autonomy and artists. The current market interest in young artists should not be underestimated here. With more galleries and art fairs than ever, there is also potentially money to be made, which can result in increased pressures on students to get a dealer, sell work, and use art school as a networking opportunity34 (especially if the teachers are successful artists). The 2006 election of the right coalition government in Sweden and their regime of cutbacks and privatization, may also force students to see the art market as the only source of financial stability.
A related point is that the reputation of a particular school is created and maintained by both students and teachers, in a symbiotic career-building relationship: if students and teachers are successful in the art world, this helps the reputation of the school, which attracts more 'star' teachers and greater competition for student places. The relationship between Young British Art and the art department at Goldsmiths College in the UK is an obvious example, but it could be argued that other 'hot' art schools (Frankfurter Stadeschule, Yale University, etc) also follow this pattern. If this is the future direction taken by Swedish art education, then we feel it is important to ask how it affects the learning environment. If students and teachers are under pressure to build and maintain a school's reputation, then what happens when students produce work that is not immediately, obviously successful? Another point is that is a highly competitive atmosphere is not exactly conducive to producing a sense of community, let alone solidarity. In such an atmosphere, what happens when conflicts arise between students, teachers and administrators (such as breaches of student rights or academic freedom issues, or labour disputes)? Will people have the support of their peers and colleagues? Or will quietism, self-censorship, conformity inevitably result from such a competitive and managed environment?
Art school, as Howard Singerman has argued, is not only a place where we learn to make art, but most of all to take on the role of artist.35 While his book is largely a historical account of how postmodernism, theory and the dematerialization of the art object affected US arts education, we feel his emphasis on the artist-subject is useful because it draws attention to the process of 'learning to be an artist': the assimilation of appropriate codes of speaking and acting, the often unexplained value judgments which reward some approaches and discourage others, or the interest or disinterest shown by teachers and other students. The question then becomes, what kind of artist are students learning to become? We are arguing that pressures for market success entrench the traditional definitions of the artist we have discussed earlier: the artist who continually produces for eager collectors but who does not take responsibility for the discourse or context around his/her work, and presents a compelling, mysterious and charismatic persona that will create intrigue and therefore market interest. The contradiction of the professionalized romantic is that the art market may be a business and success within it requires considerable business savvy, but the artist must never be seen to behave like a businessperson or bureaucrat.
One of us recently graduated from Konsthögskolan i Malmö (the other studied there in an international program) and we will now share a few impressions from the classroom and the overall climate of the school signifying the tendencies we have described). The 'artists' we were encouraged to become were for the most part mute figures, working alone in the studios. There was sometimes a relationship between the verbal and nonverbal (pedagogy's emphasis on communication vs. the art field's traditional emphasis on the nonverbal and the unarticulated). This tension was apparent during group critiques, especially at moments when the conversation stopped, because the creative process was seen to be a personal, and private matter. In-depth discussion of one's intentions was rare, which we feel is the result of an education structure that does not lead students to develop art historical knowledge or familiarity and experience with group discussion—perhaps in accordance with the belief in the mysterious, and therefore unteachable nature of the creative process. Students can take technical courses and work exclusively in the studio for 5 years without being exposed to criticism, and are only required to present work to their classmates only twice (once in the first, and once in the fifth year). The role of theory was even more controversial (having been the object of pedagogy battles for many years): controversial because it is seen as potentially killing what is special about arts education through too much exposure to the cold light of rational analysis; but also because it contradicted dominant perceptions of the artist as a mute and intuitive figure. The awkwardness of theory played out in reading seminars: the impression was of simultaneously being encouraged and discouraged to engage with readings: to engage would produce a better discussion, but to engage too much would be to cease to be 'the artist', enigmatic and mysterious. In contrast to Kant's notion of disinterest (where the beautiful does not create desire) not only did the beautiful produce desire but art was defined as a product of desire36. Desire and passion were defined within an anti-intellectual framework: because they were part of personal, subjective experience, they were beyond criticism; the logical conclusion is that if artworks are the product of desire, they could not be discussed.
In conclusion, we feel that serious questions must be asked of art education. For students, the pressures for the consistency and productivity mentioned at the beginning (which can mean something as crass as a consistent product, or the demand for an identifiable style) can pressure artists to produce formulaic work—especially if it is also being rewarded both by the market and by state funding. We feel this goes against the principles of learning, as under these pressures it can be very difficult to take risks, make mistakes or experiment, or even develop one's practice—as signs of change may be seen as 'inconsistency'. We also feel these pressures can be damaging to artistic development the long term, because, in a climate where collectors are showing an insatiable appetite for the latest hot young artists, the cycle of stardom can be very short (three years, by a 2002 account37). How does one continue to make work once this cycle has finished, let alone for the rest of one's life? If one has not had a chance to explore or take risks during one's education, to develop the sense of ongoing, independent investigation crucial to a sustained art practice—because what is being rewarded is 'consistency'?
We are concerned, not only for the long term effect on students, but also for the learning environment. A climate where art schools are continually trying to market themselves, and because of this, show that both students and teachers are actual or potential star material, can place huge pressures on both students and teachers.. The effect, (ironically, in direct contradiction to the rhetoric by which art schools use to market themselves ) is that art schools are no longer at the forefront of new developments in the field, but in a position of continually following market trends and rewarding what has already been proven as successful. We also feel that under such pressure, what suffers is the diverse range of different practices that would allow students to learn from each other and be exposed to different perspectives and approaches. Rewarding the already-successful will only produce more predictability and homogeneity. We also feel that the role of the 'professionalized romantic' within art education is a limiting one, not only because it so suited to the individualism, competition and careerism mentioned above, but also because it discourages a sense of community among teachers, students and others in the field, and the taking responsibility for the wider context of one's practice.
We are calling for a re-evaluation of art education, as art education increasingly plays a central role in the definition of art and artists. An important aspect of this evaluation (beyond the scope of this text) would be to open discussion around the definition of autonomy: where political and aesthetic autonomy might either enable or oppose each other. We hope that our text can contribute to this re-evaluation.
1 Clemens Poellinger and Erica Treijs, Hausse, Svenska Dagbladet, retrieved 02 June 2007, <http://www.svd.se/dynamiskt/kultur/did_14144752.asp>
2 Nichlas Östlind, Hausse, Svenska Dagbladet, retrieved 02 June 2007, <http://www.svd.se/dynamiskt/kultur/did_14144752.asp>
3 Sven-Erik Liedman, Stenarna i själen: form och materia från antiken till idag, (Albert Bonniers Förlag: Stockholm, 2006, p 245)
4 Franklin L Baumer, Romanticism (ac 1780-1830), retrieved 13 June 2007, <http://etext.lib.virginia.edu/cgi-local/DHI/dhi.cgi?id=dv4-26#>
6 Marion Von Osten, Unpredictable Outcomes / Unpredictable Outcasts: A reflection after some years of debates on Creativity and Creative Industries, retrieved 21 June 2007, <http://eipcp.net/transversal/0207/vonosten/en>.
7 Anna Brodow, Måleriets död en myt bevisligen, Svenska Dagbladet, retrieved 21 June 2007, <http://www.svd.se/dynamiskt/rec_konst/did_16011097.asp>
8 Millou Allerholm , På spaning efter det jag som flytt - 15 konststudenter' i Bonniers konsthall, Stockholm, Dagens Nyheter, retrieved 21 June 2007, <http://www.dn.se/DNet/jsp/polopoly.jsp?a=655080>
9 Sinziana Ravini, Vildsvin, Playboy och nordiskt vemod, Göteborgs Posten, retrieved 15 July 2007, http://www.gp.se/gp/jsp/Crosslink.jsp?d=121&a=294818
10 Frederic Jameson, Postmodernism, Or, the Cultural Logic of Late Capitalism (Duke University Press: Durham, 1991, p. 174)
11 Jameson, Postmodernism, p. 174.
12 Richard Dyer, Pastiche (Routledge: London, 2007), Ingeborg Hoesterey, Pastiche: Cultural Memory in Film, Art and Literature (Indiana University Press: Bloomington, 2001), Charles Jencks, The Language of Postmodern Architecture (Rizzoli, New York, 1984).
13 Luc Boltanski and Eve Chiapello, The New Spirit of Capitalism, (Verso, London, 2006).
14 Manuel Castells, The Rise of the Network Society, (Blackwell Publishers, Cambridge, 1996).
15	Luc Boltanski and Eve Chiapello, The New Spirit of Capitalism (Verso, London, 2006, p. 461).
16	Boltanski and Chiapello, New Spirit, p. 461.
17 Diesel New Art, retrieved 15 July 2007, <http://www.diesel-new-art.com/template.asp?p_id=73&top_p_id=50>
18 Market Art Fair, retrieved 02 July 2007, <http://www.market-art.se/>
19 Anna Brodow, Måleriets död en myt bevisligen, Svenska Dagbladet, retrieved 10 July 2007, <http://www.svd.se/dynamiskt/rec_konst/did_16011097.asp>
20 Remembrance of the Subject Past, retrieved 10 July 2007, <http://www.bonnierskonsthall.se/sv/Konst/Konst/Tidigare/>
21 Mariana Garin, Camilla Larsson, Sinziana Ravini, The Eternal Return of the Romantic, retrieved 10 July 2007, <http://www.bonnierskonsthall.se/sv/Konst/Konst/Utstallningar/Konsthogskolorna-07-Romantikens-eviga-aterkomst/>
22 Garin, Larsson and Ravini, Eternal Return.
23 Bourriaud, Nicolas Post-Production (Lukas and Sternberg: New York, 2001).
24 Mårten Arndtzén, 'Romantisk konstnärsroll på Bonniers konsthall', Sveriges Radio, retrieved 10 July 2007, <http://www.sr.se/cgi-bin/isidorpub/PrinterFriendlyArticle.asp?ProgramID=478&nyheter=1&artikel=1370787>
25 Richard Florida, Den kreativa klassens framväxt The Rise of the Creative Class (Daedalos: Stockholm, 2006).
26 KK-Stiftelsen, retrieved 01 July 2007, <http://www.kks.se/>
27 'Om Branschen', Swedish Trade Council, retrieved 03 July 2007, <http://www.swedishtrade.se/upplevelser/?objectid=6483&pageid=6983>
28 Anthony Davies, 'Basic Instinct: Trauma and Retrenchment, 2000-2004' MUTE issue.29, Winter/Spring 2005, retrieved 25 May 2007, <http://www.metamute.org/en/Basic-Instinct-Trauma-and-Retrenchment-2000-4>
29 Fiachra Gibbons, After the shocks and the hype, the gentle art of painting is ready to make a comeback, The Guardian, January 2, 2003, cited in Anthony Davies, Basic Instinct.
30 The original Henri Matisse quote is: 'An art which might be for every mental worker like a mental soother, something like a good armchair in which to rest from physical fatigue', A Liberman, The Artist in his Studio (Viking Books, New York, 1960).
31 Pernille Albrethsen, Platform Formalism (Nordic Art Review, Stockholm, 2002), 16beavergroup, retrieved 25 May 2007, <http://www.16beavergroup.org/mtarchive/archives/000873.php>
32 Claire Bishop, 'Antagonism and Relational Aesthetics'. October 110 (MIT Press, Cambridge, pp. 51-80).
33 Bishop, Antagonism, p. 77.
34 For a discussion of 'network sociality' and its deleterious effects on workplace democracy, see Angela McRobbie, 'From Clubs to Companies: Notes on the Decline of Political Culture in Speeded Up Creative Worlds', Cultural Studies 16: 4, 2002, pp 516-531. For an examination of effects of networking on arts education (specific to London, UK), see Angela McRobbie, Creative London/Creative Berlin: Notes on Making a Living in the New Cultural Economy. Atelier Europa, Munich Kunstverien, 2004, retrieved 10 May 2007, <http://www.ateliereuropa.com/>
35 Howard Singerman, Art Subjects: Making Artists in the American University (University of California Press, Berkeley, 1999).
36 George Van Den Abeele, 'On the Notion of "Disinterestedness': Kant, Lyotard, and Schopenhauer',Journal of the History of Ideas (John Hopkins University Press, 62: 4, 2001).
37 Christina Ritchie, 'How do you launch an international art career?' C Magazine, 2001, cited in Clive Robertson, 'Simple pasts and future perfects', FUSE Vol.25 No.4, 2002, p. 29.


text:
Q: "error: function definition is not allowed here" w/ curly brackets in C? hello i'm trying to create an online form of one of those little paper fortune tellers. this is the WIP code and I've mostly debugged it but I keep getting these two errors
fortune.c:58:3: error: function definition is not allowed here
fortune.c:79:4: error: function definition is not allowed here

ive looked up the question a lot and it keeps telling me that you have to define your functions outside of main because they're global or whatever but i already invoked them outside of the main function and before it begins, with the first couple lines. i've also tried just putting the whole code towards the top but it looks ugly to me like that and it causes like 20 bugs. i was just relieved to get all the errors down to single digits lol.
so here's the code any help would be appreciated. this is my first time coding. brick'd
#include <stdio.h>
#include <string.h>

void fortune1(void);
void fortune2(void);

int main (void)
{

int fort;
int tune;

// get color
char color; // []?
printf("Color?\n");
scanf("%s", &color);
int count;
count = strlen(&color);
{
if(count % 2 == 0)
    int num1;
    printf("Number?\n");
    scanf("%d", &num1);
        if(num1 % 2 == 0)
        {
            fortune1();
        }
        else
        {
            fortune2();
        }
}
{
    int num2; // []?
    printf("Number?\n");
    scanf("%d", &num2);
        if(num2 % 2 == 0)
        {
            fortune1();
        }
        else
        {
            fortune2();
        }
}
}

// fortune1 function
void fortune1(void)
  {
        do
        {
            int fort;
            printf("Fortune?\n");
            scanf("%d", &fort);
        } while (fort < 5 || fort > 0); //must be in range 1-4
            if(fort = 1);
                printf("fortune1");
            if(fort = 2);
                printf("fortune2");
             if(fort = 3);
                printf("fortune3");
            if(fort = 4);
                printf("fortune4");
    }

// fortune2 function

void fortune2(void)
   {
        do
        {
            int tune;
            printf("Fortune?\n");
            scanf("%d", &tune);
         } while (tune < 9 || tune > 4)
            if(tune = 5);
                printf("fortune5");
            if(tune = 6);
                printf("fortune6");
            if(tune = 7);
                printf("fortune7");
            if(tune = 8);
                printf("fortune8");
    }
}

'''

A: #include <stdio.h>
#include <string.h>

void fortune1(void);
void fortune2(void);

int main (void)
{

    int fort;
    int tune;

    // get color
    char color[10]; // []? if you're using string, then use array
    printf("Color?\n");
    scanf("%s", &color);
    int count;
    count = strlen(color);  //if u use &, you'll count the variable address

    if(count % 2 == 0)
    {
        int num1;
        printf("Number1?\n");
        scanf("%d", &num1);
            if(num1 % 2 == 0)
            {
                 fortune1();
            }
            else
            {
                 fortune2();
            }
    }
    else
    {
        //i dunno if this part is inside if or else
    int num2; // []?
    printf("Number2?\n");
    scanf("%d", &num2);
        if(num2 % 2 == 0)
        {
            fortune1();
        }
        else
        {
            fortune2();
        }
    }
}

// fortune1 function
void fortune1(void)
  {
        int fort;
        do
        {
            printf("Fortune1?\n");
            scanf("%d", &fort);
        } while (fort >= 5 || fort <= 0); //must be in range 1-4
        // i change the condition iniside while, because if not, the code will always looping
        if(fort == 1) // == not =
            printf("fortune1");
        if(fort == 2)
            printf("fortune2");
        if(fort == 3)
            printf("fortune3");
        if(fort == 4)
           printf("fortune4");
        //don't use ; after if
    }

// fortune2 function

void fortune2(void)
   {
        int tune;
        do
        {
            printf("Fortune2?\n");
            scanf("%d", &tune);
         } while (tune >= 9 || tune <= 4); //; after while in do while
         if(tune == 5)
            printf("fortune5");
         if(tune == 6)
            printf("fortune6");
         if(tune == 7)
            printf("fortune7");
         if(tune == 8)
            printf("fortune8");
    }

please tell me if i'm wrong