That isn't to say that there isn't a place for a dominant offensive big man in the NBA today. They're just competing against a far more loaded deck than they were a decade ago and especially before the hand check rule led to more unrestricted play movement away from the rim.
In 2015, the NBA players using over 500 post-up possessions collectively scored .906 points per post up possession. In 2005 a far older group of centers averaged .923 points per post up possession. Even though we've seen power forwards like LaMarcus Aldridge, Dirk Nowitzki, and Zach Randolph run extremely hot in post-up situations over the last few postseasons, the NBA's primary post threats aren't as efficient as they were 10 years ago, especially at the center position.
The implications of post play for both Okafor and Towns as pros is extremely interesting. 54% of Okafor's possessions were post ups last season, and aside from some less than stellar performances in the NCAA Tournament, he turned in one of the most efficient, prolific post up scoring seasons of any elite NBA prospect in recent memory, outscoring a number of teams from the low block on the year by himself, shooting .922 points per possession over 8.4 possessions per game.
Considered a game-changing prospect already in middle school, Jahlil Okafor came into his freshman season with huge expectations, and did not disappoint in the least bit. He was named ACC player of the year and a First Team All-American, and played a major role in Duke's NCAA Tournament run culminating in a championship over Wisconsin.
Standing 6-11, 270 pounds, with a 7-5 wingspan, a 9-2 ½ standing reach and absolutely gigantic hands, Okafor has ideal physical attributes for an NBA center. He's extremely nimble and agile for a player his size on top of that, running the floor well when motivated, and being very graceful with his movements.
A huge share of Okafor's offense this season came with his back to the basket, where he shows a tremendous feel for the game and is nothing short of an absolutely devastating presence. He has the size to establish deep post-position, and the strength to move players around inside the paint once he catches the ball, showing an incredibly rare combination of power, quickness and finesse. Extremely nimble, Okafor has outstanding footwork, and he does an excellent job of feeling out his defender and reacting appropriately, having all the countermoves in the book, and being capable of executing beautiful spin-moves with superb body control, often using the glass. He uses shot-fakes well and draws a foul on over 18% of his post-possessions according to Synergy Sports Technology, often finishing through contact for an And-1. Unfortunately he only converts 51% of his free throws, which is something he'll need to improve on in time.
He's also a very good passer for a 19-year old big man, looking extremely patient with his moves and having no qualms whatsoever about throwing the ball out if he faces a double-team or sees an open teammate spotting up on the perimeter. His huge hands and long arms gives him the ability to pass over the top of the defenses to anywhere on the floor, be it with a bounce pass to his fellow big man, a skip pass to a shooter in the opposite corner, or anywhere in between. His basketball IQ is so high that it isn't hard to see this part of his game developing even further. Whatever coach he ends up with could certainly utilize this even more from different spots on the floor as a significant part of his team's half-court offense.
As good as Okafor is creating his own offense inside the paint, he's even better as a finisher when receiving the ball with a head of steam off cuts, pick and rolls, or running the floor in transition. He converted an outstanding 79% of his shots around the rim in the half-court this season in non-post-up situations, the top mark in the college game by a wide margin. His gigantic hands allow him to palm the ball like a grapefruit en route to the rim, and his incredibly long arms gives him a variety of vantage points to throw it into the basket with feathery soft touch and either hand. While not overly explosive, Okafor is extremely quick off his feet and shows no hesitation going up around the basket confidently.
While Duke didn't need to use this part of his game too often, partially due to the reduced spacing of the college game, Okafor can also face the basket and create his own offense off the dribble. He's a very good ball-handler for his size, and has the ability to make quick and precise moves in small spaces thanks to his terrific footwork and body control.
Okafor is also a major presence on the offensive glass, grabbing 4.6 boards per-40 minutes, third best in the DX Top-100. His big frame, long arms, soft hands and terrific instincts help him out quite a bit here, and he's not afraid to throw his body around and move opponents around en route to loose balls.
The biggest question marks around Okafor revolve around his play on the defensive end, where he was very inconsistent this season. He has the size, strength and length to be more than adequate if he puts his mind to it, and did show some flashes on this end of the floor from time to time, particularly as a post-defender.
With that said, Okafor typically looked far too lackadaisical on this end of the floor, jogging back nonchalantly and looking downright lazy in stretches. He gives up deep post-position too often and isn't aggressive enough looking to body his man when he does receive the ball, possibly out of fear of getting in foul trouble.
More concerning is how badly he struggles stepping outside of the paint in pick and roll situations, where he looks sluggish and slow-footed, showing poor awareness and being late to react on the fly. As gifted as he is offensively, he is almost just as poor on the other end of the floor. Duke was forced to play a very conservative style of defense on the pick and roll, with Okafor going way underneath screens to give himself a big enough cushion to recover and not get burned, which is certainly not ideal against the better guards he'll face in the NBA. He struggles hedging screens on the perimeter and certainly can't be asked to switch onto smaller players, as he already struggles in one on one situations against big men.
Not being particularly explosive, he offers very little in the way of rim-protection, which is a concern in today's NBA game where practically every team's defensive plan revolves around having a big man in the paint who can serve as an anchor, clean up mistakes and not allow easy baskets.
He's also not a very good defensive rebounder, posting just 6.5 per-40 minutes, one of the worst rates among big men in our Top-100. He looks somewhat lethargic here too, often standing and watching rather than putting a body on an opponent, and being a bit slow to react to loose balls coming off the glass.
With that said, players in Okafor's mold who can have a half-court offense built around them thanks to an incredible wherewithal their his back to the basket are also rare and coveted specimens, although perhaps not as much in this era as they were in the past. Still, he's such a gifted offensive player that teams will certainly learn to live with his limitations and do their best to surround him with the right type of players to get the most out of him. At age 19, there is certainly time for him to work on his weaknesses, and he's already shown he can improve his conditioning and appears to be a highly coachable player as well.
A detailed video analysis by Mike Schmitz of the head to head matchup of Jahlil Okafor and Jakob Poeltl from the NCAA Tournament game between their Duke and Utah teams last night.
For the past few years, NBA teams and fans have been enjoying the unique insight provided by SportVU, the data tracking camera systems installed at every NBA arena.
That technology is slowly trickling down to the college level, and we were fortunate enough to receive a treasure trove of data in the past few days, providing some incredibly unique insight into potential #1 pick Jahlil Okafor as a college player and NBA prospect.
To better explain the data, we've added in a video breakdown of Okafor's impact on the offensive and defensive ends, which help visualize his unique skill-set, as well as his strengths and weaknesses at the moment.
Duke has played 19 games so far this season, 10 of them on their home floor at Cameron Indoor Stadium, where the cameras are installed. Thankfully, of the nine games they've played away from home, four were played at NBA arenas (the homes of the Brooklyn Nets, New York Knicks, Indiana Pacers), giving us a solid 14 game sample size of nearly 450 minutes. Additionally, looking at the games we don't have data for, it doesn't appear that Okafor had any less success offensively, on average, than he did in the games we do have at our disposal.
This should certainly not be viewed as an apples to apples comparison, since Okafor is going up against significantly worse competition in the form of 18-22 year old college players, but it does provide a baseline for which to understand the different categories we are looking at. In particular, it shows how much Okafor's role in Duke's offense differs from that of the NBA centers we looked at, as well as the impact a player of his caliber can have in the college basketball setting. It will be interesting to see how Okafor's role evolves as the year moves on, as well as how he'll be utilized in the pros.
Perhaps one of the biggest things that stood out on first glance is how rarely Okafor touches the ball on the perimeter for Duke, which isn't the case for most NBA centers we looked at using the same stats. 52% of Okafor's half-court touches come off post ups, which is a huge number compared to the likes of Al Jefferson (32.8%), Nikola Pekovic (31.4%), Dwight Howard (19.2%), Nikola Vucevic (18.4%), DeMarcus Cousins (13.5%), Marc Gasol (12.5%), Tim Duncan (11.1%), and Enes Kanter (4.3%), according to SportVU data we were provided with.
Before we delve further into the data, it's important to distinguish the difference between a "post touch" and a "paint touch" in the SportVU terminology.
Post Touch: A post touch occurs when an offensive player catches a pass while in the act of trying to score with his back to the basket (posting up), regardless of whether he's inside the paint or not.
As we'll see in the video below, many of Okafor's post-up attempts begin outside of the paint, but end up close to the basket, because of his sheer strength and terrific skill-level.
Okafor has posted up incredibly often for Duke--200 times so far this season in the 14 games we have data on. As mentioned, this represents 52% of his overall half-court touches, and Duke scores 1.3 points per possession when Okafor gets a post touch, even though he only actually attempts a field goal 41% of the time. That percentage is a bit low compared with his NBA counterparts, and likely representative of how often he's double-teamed. Okafor draws fouls at a tremendous rate (8 times per-40), and is a very solid passer as well.
By contrast, Duke scores just .993 points per possession overall in half-court situations, per Synergy Sports Technology (including Okafor's post-up attempts) which helps explain why they look to get him the ball with his back to the basket as frequently as they do. 14.3 of Okafor's 25.9 half-court touches per game come off Post Touches.
For comparison's sake, only one player in the NBA gets more post-touches than Okafor currently does in college: Al Jefferson. His post touches aren't quite as fruitful for the Charlotte Hornets as Okafor's are for Duke at .98 PPP, which is understandable since he's going up against NBA caliber defenders, who are far more physically gifted and equipped to handle a player of his dimensions.
Another interesting facet of the SportVU data is the breakdown of a players' success rate off zero, or 1-2 dribbles. It's usually far more difficult to score off the dribble than it is in situations when a player can simply catch and shoot immediately, and Okafor's splits confirm that to a certain extent.
When taking a field goal off zero dribbles, Okafor converts an outrageous 75% of his attempts, while when forced to dribble once or twice, that number drops to a still very impressive 58%. Of the six NBA centers we looked at in this sample, only Al Jefferson and DeMarcus Cousins are forced to operate off the bounce more frequently than Okafor does.
Paint Touch: This refers to all instances in which the player "receives a pass" inside the paint, including the post touch category above (but excluding post-ups which start outside the paint), adding in such actions as cuts, pick and roll finishes, or when a player receives the ball after running the floor in transition. The player doesn't need to have both feet, or even all of one foot in the paint to count as a paint touch.
Okafor sees quite a few of these, eight per game to be exact. Duke scores 1.46 points per possession when he does get a paint touch, as he converts on an impressive 75% of his field goal attempts in these situations. As you'll see in the video below, his hands, footwork, touch and dexterity are nothing short of amazing for a player his size.
While Okafor is the most prolific and skilled offensive big man in college basketball, his play on the defensive end of the floor doesn't inspire anywhere near the same praise.
SportVU keeps stats on "rim protection," which is any instance where the defender is within five feet of the basket and within five feet of the offensive player attempting the shot.
The numbers here suggest that Okafor hasn't been quite as ineffective as he appears to be on film at times. Okafor has been in a "rim protection" situation 8.8 times per game on average, which is a similar amount to that of his NBA center counterparts we studied in our six player sample. Opposing players have converted 45.5% of those field goal attempts.
There are a number of potential explanations for this. Our 14 game sample includes games against the likes of Presbyterian, Fairfield, Furman, Army, Elon, Toledo and Wofford, some of were huge blowout wins for Duke. At the same time, Duke's home ACC slate included games against Boston College and Pittsburgh, neither of which present imposing frontcourt challenges.
Watching the film, it's clear that when Okafor is operating at full intensity, he is able to make his presence felt with his strong frame, terrific length (wingspan measured between 7-5 and 7-6 in various settings) and solid anticipation skills. He's blocked 28 shots in 19 games so far this season, a decent mark, but his lapses in intensity, average awareness and fundamentals, and seeming unwillingness to be a consistent presence on a full-time basis have been quite glaring at times this year.
Okafor's ability to emerge as a legit rim-protector, as well as his prowess as a pick and roll defender, which we studied closely in the following video, will likely play a huge role in the type of NBA player he ends up developing into.
A detailed video analysis by Mike Schmitz of how Duke's Jahlil Okafor and Wisconsin's Frank Kaminsky performed in their head to head matchup this past week in Madison.
Take a look at our new video section for a compilation of all the videos we've produced this year.
Going up against players nearly two years older than him, Jahlil Okafor didn't look out of place for a single moment here in Colorado Springs, showing that his terrific skill-level, basketball IQ and maturity would make him a devastating force at the college level already next year if he were eligible.
Okafor established position inside the paint at will thanks to his massive frame, and then unleashed a barrage of phenomenal post moves time after time to score points virtually whenever he pleased. He drew fouls at a steady rate simply by catching the ball and being aggressive, being very difficult to contain thanks to his unique combination of power, finesse and smarts. His arsenal includes a variety drop-steps, spin-moves, up and unders and jump-hooks with either hand, as he was clearly the most fundamentally sound post-player in attendance despite only just having completed his high school senior year.
Not just a brute force with his back to the basket, Okafor can also operate in the mid-post as well, showing the ability to create his own shot off the dribble with a strong first step, great patience, outstanding footwork and soft touch around the basket.
In addition to his excellent skill-level, Okafor impresses with his willingness to play inside, not being afraid of playing through contact with the older players here in Colorado Springs. He clearly realizes what his strengths are and didn't shy away from banging inside even when things got very physical inside the paint, which is a good sign for his transition from high school to college and eventually the NBA.
Defensively, Okafor is a major presence inside thanks to his terrific frame and 7-3 wingspan, but his lack of experience shows much more on this end of the floor than it does offensively. He has a difficult time stepping out onto the perimeter due to his average lateral quickness, and isn't much of a rim protector as he does not possess tremendous explosiveness rotating over from the weak-side. He is a very good rebounder, though, doing a nice job cleaning up the glass on both ends of the floor.
Okafor appeared to be a lock to make the team from the very first moment he stepped on the floor thanks to his advanced skill-set and feel for the game, as he's simply a game-changer inside the paint that very few international teams will have an answer for. The US squad will likely look to utilize him heavily every time he steps on the floor, and he'll surely play a major role in any success this team has.
-Relatively untested defensively. Can he handle other players his size?
Outlook: Extremely poised young big man with tremendous size, length and strength. Has no qualms about playing inside. Very difficult to contain with his physical tools, skill-level and basketball IQ. A bigger version of Jared Sullinger? Still only 16 years old.


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Regulations Governing Information to be Published in Public Tender Offer Prospectuses CH
Amended Date:
Financial Supervisory Commission(金融監督管理委員會)
These Regulations are adopted pursuant to Article 43-4, paragraph 2, of the Securities and Exchange Act (the "Act").
The basic principles for preparing a public tender offer prospectus are as follows:
1.The contents of a public tender offer prospectus must be detailed and unambiguous, and may not contain any misrepresentations or nondisclosures.
2.The contents of the prospectus must be up to date. All transactions or other events occurring before the printing of the prospectus which are likely to affect the judgment of interested parties shall be disclosed.
The following items shall be printed in the order below on the cover of the public tender offer prospectus:
1.The signature or seal of the public tender offeror. If the public tender offeror is a company, the signature or seal of its responsible person must also be included.
2.The name of the company being acquired.
3.The type(s) of securities being purchased.
4.The volume of securities being purchased.
5.The tender offer consideration.
6.The tender offer period.
7.The following text shall be printed prominently:
A.The public tender offeror and any other parties that have signed or sealed the public tender offer prospectus shall bear legal liability for any misrepresentations or nondisclosures contained in this public tender offer prospectus.
B.Tenderers are strongly advised to read this public tender offer prospectus carefully and take note of the risks associated with tendering.
8.The URL for the website(s) to visit for further information about the prospectus.
9.The date of printing.
The public tender offer prospectus shall include the following information:
1.Basic information on the public tender offer.
2.Public tender offer conditions.
3.Type(s) and source(s) of public tender offer consideration.
4.The risks associated with tendering.
5.Procedures to be followed after expiration of the period of public tender offer.
6.The public tender offeror's shareholdings in the subject company.
7.The circumstances of any other purchases and sales by the public tender offeror of shares in the subject company.
8.The public tender offeror's business plan for the subject company.
9.The resolution [to initiate the public tender offer], and an opinion on its reasonableness.
10.Matters of special note.
11.An explanation of any other material information.
The basic information on the public tender offer shall include the following items:
1.Where the public tender offeror is a natural person, the name and occupation of the offeror, his or her spouse, and any minor age children shall be indicated.
2.Where the public tender offeror is a company, the prospectus shall indicate the name, website address, and principal line(s) of business of the company, the names of its directors, supervisors, and any shareholders owning more than 10% of the public tender offeror's total issued shares, and the shareholdings of said parties.
3.The name, address, and telephone number of the mandated institution and the matters that it has been mandated to handle.
4.The name, address, and telephone number of the lawyer and the matters that the lawyer has been mandated to handle.
5.The name, address, and telephone number of the CPA and the matters that the CPA has been mandated to handle.
6.The name, address, and telephone number of the financial adviser and the matters that the financial adviser has been mandated to handle.
7.The name, address, and telephone number of the financial institution and the matters that it has been mandated to handle.
8.The name, address, and telephone number of any other mandated experts and the matters that they have been mandated to handle.
The public tender offer conditions shall include the following items:
1.Period of public tender offer.
2.Maximum and minimum projections for the volume of shares to be purchased through public tender offer.
3.The public tender offer consideration.
4.Whether the current public tender offer involves any matter that requires the approval of the Financial Supervisory Commission or other competent authority or that requires an effective registration, and whether such approval has already been obtained or registration has already become effective.
5.After the public tender offer conditions as filed by the offeror have been satisfied and an announcement to that effect has been made, a tenderer is not allowed to cancel its tender, except under a circumstance set forth in Article 19, paragraph 6 of the Regulations Governing Public Tender Offers for Securities of Public Companies.
The section on type(s) and source(s) of public tender offer consideration shall include the following items:
1.If consideration is paid in cash:
A.If the consideration is the offeror's own funds, the prospectus shall specify the investment framework, the backgrounds of the investors at each tier, the concrete sources and details of the funds, including the identities of the ultimate providers of the funds and the plans relating to the funds arrangements. If the public tender offeror is a company and pays the tender offer consideration with the company's own funds, it shall explain the reasonableness of the source of the funds for this tender based on an analysis of solvency, cash flow, and profitability as shown in the financial reports from the most recent 2 fiscal years prior to the public announcement of this public tender offer.
B.If financing is to be used in the purchase of the securities, the prospectus shall provide a detailed description of all financing plans, to include the source of the borrowed funds, the lender and the borrower, and the collateral. If the assets or shares of the subject company, or of the surviving company in the case of a merger, are listed as collateral in the tender offeror's loan repayment plan, the prospectus shall disclose the collateralization terms, and give an assessment of the impact on the financial and operational soundness of the subject company, or of the surviving company in the case of a merger. If none of the above-mentioned exists, the tender offeror shall make a declaration to that effect.
2.If securities set out in Article 8, paragraph 1, of the Regulations Governing Tender Offers for Purchase of the Securities of a Public Company will be paid as consideration for the acquisition, the prospectus shall include:
A.The names and types of securities to be paid as tender offer consideration, their average prices and trading volumes over the most recent three months, and their closing prices on the day prior to filing.
B.The time and cost at which the public tender offeror obtained the securities.
C.The method for determining the share exchange ratio, and the factors that were weighed in making the determination.
3.If securities set out in Article 8, paragraph 2, of the Regulations Governing Tender Offers for Purchase of the Securities of a Public Company will be paid as tender offer consideration, the prospectus shall include:
A.The minutes of the directors' or shareholders' meeting where it was resolved to offer and issue shares or corporate bonds.
B.The terms and conditions of issuance applying to the offering and issuance of the shares or bonds.
C.If shares of the same type as those to be offered and issued by the public tender offeror are already being traded on a centralized securities exchange market or an over-the-counter market, the prospectus shall disclose the average price and trading volume over the most recent three months, and the closing price on the day prior to filing.
D.The method for determining the share exchange ratio, and the factors that were weighed in making the determination.
E.The company's financial reports for the past two fiscal years; where the company has been in business for less than two years, the prospectus shall include the financial reports for the fiscal year(s) during which the company has been in business.
F.Its most recently published financial report audited and certified or reviewed by a CPA.
G.An explanation shall be provided for any material changes in the company's financial or business operations that have occurred between the date of the balance sheet in its most recently submitted financial report and the date on which it filed the public tender offer. If there have been no material changes, the public tender offeror shall make a declaration of no material changes.
H.A statement describing the projected effect of the acquisition of the subject securities upon the financial and business operations of the public tender offeror over the three-year period following acquisition.
If a public tender offeror will pay the consideration in cash under subparagraph 1 of the preceding paragraph, it shall provide a written undertaking that it bears the obligation to perform payment of the tender offer consideration, along with the documentation of all agreements or covenants in connection with the funds arrangement, which shall be included together with the public announcement of the prospectus.
The following risks associated with tendering shall be noted in conspicuous lettering:
1.The risk that the public tender offer could be suspended pursuant to provisions set out in the Act under Article 43-5, paragraph 1, subparagraphs 1 through 3.
2.The risk that the Financial Supervisory Commission or another authority might deny approval, suspend registration, reject filing, or revoke approval.
3.The risk that the competent authority, acting pursuant to the provisions set out in Article 43-5, paragraph 2, of the Act, might order the public tender offeror to re-file and re-publish content of the previously filed and published public tender offer.
4.The risk that the time, manner, or place for the payment of the tender offer consideration may be changed due to a natural disaster or emergency event pursuant to the provisions of Article 7-1, paragraph 2 of the Regulations Governing Tender Offers for Purchase of the Securities of a Public Company.
5.If shares or corporate bonds to be offered and issued will be paid as tender offer consideration pursuant to the provisions of Article 8, subparagraph 2, of the Regulations Governing Tender Offers for Purchase of the Securities of a Public Company, the risk that such securities cannot be issued on schedule.
6.The risk that the time for the tenderer to receive the tender offer consideration may be postponed because the public tender offeror extends the public tender offer period pursuant to Article 18, paragraph 2 of the Regulations Governing Tender Offers for Purchase of the Securities of a Public Company.
7.The risk that a tender may not be withdrawn after the conditions of the tender are met and publicly announced, except under a circumstance set forth in Article 19, paragraph 6 of the Regulations Governing Public Tender Offers for Securities of Public Companies.
8.The risk that the number of shares tendered may not meet the minimum projected purchase volume.
9.The risk that not all shares tendered can be sold.
10.Any other material risk that the public tender offeror knows could affect the share purchasing process.
Information to be published with regard to procedures that will be followed after expiration of the period of public tender offer:
1.The time at which the public tender offeror will pay the tender offer consideration, and the manner and place of payment. If foreign securities are to be paid as tender offer consideration, there shall be an explanation of the delivery method and how tenderers are to conduct the trade for those securities.
2.The time at which tenderers are to deliver transacted securities, and the manner and place of delivery.
3.The time at which tendered but untransacted securities are to be returned, and the manner and place of return:
A.The manner in which the tender offeror will handle the return of tendered securities if the number of shares tendered falls short of the minimum number to be purchased.
B.The manner in which the tender offeror will handle the return of excess tendered securities if the number of tendered securities exceeds the maximum number to be purchased (in which case the tender offeror is required to purchase from all tenderers a pro rata portion of the securities tendered).
4.If securities set out in Article 8, paragraph 2, of the Regulations Governing Tender Offers for Purchase of the Securities of a Public Company are to be paid as tender offer consideration, the prospectus shall indicate whether cash or other securities will be substituted in the event the aforementioned securities cannot be issued on schedule. If no other substitute form of consideration is to be provided, the prospectus shall indicate the manner in which the tender offeror is to handle the return of tendered securities.
Information to be published with regard to the public tender offeror's shareholdings in the subject company:
1.If the public tender offeror or any related party thereof already holds securities of the subject company at the time of the filing, the prospectus shall indicate the types, number, and acquisition cost thereof, as well as the relevant transaction records for the six months preceding the day of filing. The prospectus shall also include the information set out in the preceding sentence if the public tender offeror is a company and any of its directors or supervisors holds securities of the subject company.
2.If the public tender offeror or any shareholder thereof either serves as a director or supervisor of, or owns more than a 10% stake in, the subject company, the prospectus shall indicate the name and shareholding status of such shareholder(s).
Information to be published with regard to other circumstances relating to purchases and sales by the public tender offeror of shares in the subject company:
1.If the public tender offeror or any of its related parties have bought or sold securities of the subject company from or to any of the persons listed below during the two years prior to filing of the public tender offer, the prospectus shall indicate the date(s), counterparty(ies), price(s), and volume(s) of the share transaction(s):
A.Any director, supervisor, or managerial officer of the subject company, or any shareholder owning more than a 10% stake in the subject company.
B.Any related party as set out in Article 3 of the Regulations Governing Tender Offers for Purchase of the Securities of a Public Company.
2.If the public tender offeror or any of its related parties have entered into any agreement or covenant concerning the present public tender offer with any of the persons listed in the preceding subparagraph during the two years prior to filing of the public tender offer, the prospectus shall disclose the important content of the agreement or covenant.
3.If the public tender offeror or any its related parties have entered into any agreement or covenant concerning the present public tender offer with any of the specified shareholders of the subject company during the two years prior to filing of the public tender offer, the prospectus shall disclose the important content of the agreement or covenant, including matters such as whether it involves allowing participation in investments of the offeror or its related parties.
If the public tender offeror or any of its related parties have entered into any agreement or covenant concerning the present public tender offer with any of the persons listed in subparagraph 1 of the preceding paragraph during the two years prior to filing of the public tender offer, the prospectus shall disclose all of the agreement or covenant documents, which shall be publicly announced together with the prospectus.
Information to be published with regard to the public tender offeror's business plan for the subject company:
1.The goal and plan of the public tender offeror in acquiring the subject company's securities:
A.Willingness to continue operating the business of the subject company, and the content of plans to that effect.
B.Any plan to transfer the securities of the subject company to another party within one year after acquisition, and the contents of the plan.
2.If there is any plan that would lead to any of the following situations after completion of the public tender offer, such plan shall be included:
A.Dissolution of the subject company; its delisting from an exchange (or OTC market); material changes in its organization, capital, business plan, financial operations, or production; or any other matter of material significance that would affect the subject company's shareholder equity.
B.Any plan for reassignment, retirement, or severance of the subject company's directors, supervisors, managerial officers, or employees.
3.If, in addition to the current public tender offer, there is another plan to acquire, obtain, or dispose of securities or material assets of the subject company within one year of the day on which the period of public tender offer expires, the content of the plan shall be disclosed.
If the public tender offeror plans to delist the subject company from the TWSE (or GTSM) market after completion of the public tender offer, the business plan shall at least include the following information:
1.To the understanding of the public tender offeror, the future prospects in the industry, and the company value, of the subject company, and its reasons for conducting the public tender offer.
2.Indicate whether the public tender offer conditions are fair to the shareholders of the subject company, and the factors taken into consideration.
3.Indicate whether the public tender offeror or any of its related parties have in the most recent two years obtained from any outside party any appraisal report regarding the public tender offer conditions. If yes, indicate the content of the appraisal report, the identity of the outside party, the party's professional qualifications and the compensation that the party received.
4.For the period from after the completion of the public tender offer up to the delisting of the subject company from the TWSE (or GTSM) market, indicate any merger or acquisition plan for the subject company, and the method for handling the shares of the non-tendering shareholders, and their taxes payable.
5.After the delisting from the TWSE (or GTSM), and any merger or acquisition, of the subject company, any plan for obtaining a new listing on an exchange or over the counter in any domestic or foreign securities exchange market for any related company.
The resolution [to initiate the public tender offer], and an opinion on its reasonableness:
1.If the public tender offeror is a natural person, the prospectus shall include an appraisal by an independent expert of the reasonableness of the cash price calculation or share exchange ratio of the public tender offer consideration.
2.If the public tender offeror is a company, the prospectus shall include the minutes of the shareholders meeting or directors meeting where it was resolved to initiate the tender offer, and an appraisal by an independent expert of the reasonableness of the cash price calculation or share exchange ratio of the public tender offer consideration.
The opinion on the reasonableness in the preceding paragraph shall disclose at least the following information:
1.The method, principles, or calculations adopted for determination of the public tender offer price, and comparison with the market-value method, cost method, and discounted cash flow method commonly used internationally.
2.Comparison of the financial condition, profit status, and price-to-earnings ratio of the subject company with those of TWSE or GTSM listed companies in the same industry.
3.If a price appraisal report of an appraisal organization is taken into account in the public tender offer price, the opinion shall specify the content and conclusion of the appraisal report.
4.If assets or shares of the subject company, or of the surviving company in the case of a merger, are listed as collateral in the tender offeror's financing repayment plan, the opinion shall disclose the collateralization terms, and assessment of the impact on the financial and operational soundness, of the subject company or of the surviving company of the merger.
Article 13-1
Matters of special note shall set forth the following matters:
1.The lawyer' legal opinion.
2.The proof specified in Article 9, paragraph 3 of the Regulations Governing Public Tender Offers for Securities of Public Companies.
3.All assessment reports or opinions issued by other experts.
Any experts issuing an opinion, proof, or assessment report under the preceding paragraph shall affix their signatures or seals to the sections for which they are responsible in the prospectus.
An electronic file of the public tender offer prospectus, formatted in the manner required by the Financial Supervisory Commission, shall be transmitted to the website specified by the public tender offeror in the announcement. If the public tender offer is changed in any way, the content of the public tender offer prospectus shall be amended immediately, and the amended information shall be provided on the aforementioned website.
These Regulations shall enter into force from the date of issuance.
Web site:Laws & Regulations Database of The Republic of China (Taiwan)

redpajama_set_name: RedPajamaCommonCrawl


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For more information about 510 W Fullerton Apt 401, Chicago, IL 60614 contact Urban Real Estate.


I am still stuck here,in the year 1982 ,playing and listening to ep's and demos while waiting for the garage to repair the Time Machine! This is the third 6 hour podcast of 1982 in this series,with one more 6 hour podcast to come before I blast off to my next destination! There are familiar bands/songs here,but I can bet that most folks haven't heard most of the music featured.The tunes are of their time,you can definitely get the feeling of 1982 ,although some of this holds up today suprisingly well.A lot of these songs are still relevant ,even now! Well here's the list ,enjoy and turn on your friends,parents (old people),and anyone with a thirst for musical knowledge!


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THE HERTER PARK AMPHITHEATER
Venue Info & FAQs
Past Events >
Performer Spotlight - Brown Box Theatre Project
by Eden Holt, Contributing writer
This Friday, Saturday, and Sunday, August 10th – 12th, Brown Box Theatre Project returns to the Herter Park Amphitheater performing three free shows of William Shakespeare's As You Like It.
A non-profit touring theater company, Brown Box Theatre Project travels across states performing 35 shows a season. Going on their 8th year, Brown Box has a mission and that is to breakdown financial and social barriers to art. They insist on free shows to audiences from all walks of life.
Coming from a rural community in Maryland, Kyler Taustin, co- founder and artistic director, realized that there was a gap. There was great art to be performed but too many barriers for patrons - whether it be the prices of tickets, the content or delivery of the play, or even having an actual theater in the area.
Harkening back to the lost art of a traveling theater, Brown Box Theatre Project brings performances to communities to meet them where they are. I had the opportunity to see how - in less than 3 hours and as if by magic - an impressive stage was raised by the actors and crew themselves. With that, they prove that quality performances, actors, actresses, sound, lighting, costumes, and sets can be found anywhere there is a group of people who are willing to join together to make it happen. Not only are they bringing art to communities, they themselves represent a commitment to community in their collaboration and support for each other.
As You Like It is a story of love - love for one's self, love between a man and a woman, and love unencumbered by societal roles and expectations. Rosalind, played by Margaret Clark, falls in love with Orlando, played by Drew Cleveland. Rosalind is then banished from court and both find themselves in the woods where their love story takes an unexpected and yet very Shakespearean twist. Only in the woods the young couple is able to see beyond societal roles and expectations. Only when outside the limitations of court are the two able to find freedom.
Brown Box also escapes the traditional - urging us, the audience, to see and expect the unexpected. By bringing quality performances to communities and rural areas across four states, Brown Box is showing us that we, too, can expect more. This traveling theater company is committed to bringing quality live performances to areas and people that otherwise would have never had the chance to experience one.
Brown Box Theatre Project is on tour throughout Massachusetts through August 26th, but will only be at the idyllic outdoor Herter Amphitheater August 10th – 12th. And while they are already working on their 9th season, the company is looking even further - to their 10th season, marking a great achievement for a unique and innovative team.
Is this cancelled tonight due to the rain?
Kerin Shea. -- FoHP
Eden Holt -- Contributor
Molly McCaul -- Contributor
By Eden Holt
By Molly McCaul
The Friends of Herter Park


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Watch the African Art in Venice Forum live on YouTube
Added on May 7, 2019 by Claire Blandy.
African Art in Venice Forum
Venue: Hotel Monaco & Grand Canal, San Marco 1332, Venice, Italy
May 7-9 2019
Larry Achiampong & David Blandy
Media Minerals performance as part of the African Art in Venice Forum
Tuesday 7th May, 4:45pm
Free to attend, however, reservation is required
Watch it live on YouTube
View full programme of events here
Incorporating music, spoken word, and video projection, Larry Achiampong & David Blandy's performance Media Minerals reflects on how politics of race affect relationships in an age of technology and globalization. The artists have a scripted encounter that relates their personal experiences and geopolitical observations. Their friendship — forged through virtual spaces like video games or WhatsApp — is tested as they consider how the lives of their respective children differ from each other, and what the future may hold for all of mankind. The Media Minerals performance takes the raw materials of the Finding Fanon series into the physical space.
Presented in collaboration with New Art Exchange.
AAVF is a platform presented during the Venice Biennale for inclusive dialogue on contemporary art from Africa & its diasporas.
Frieze: Artists Larry Achiampong and David Blandy Probe the Pseudoscience Behind How We Think About Race…..
Added on March 26, 2019 by Claire Blandy.
Frieze : Article By Kadish Morris
Artists Larry Achiampong and David Blandy Probe the Pseudoscience Behind How We Think About Race…..
'The World After' | David Blandy Kickstarter Campaign Launch
Added on March 6, 2019 by Claire Blandy.
Join our Kickstarter Campaign to help realise an exciting new phase for David Blandy's collaborative New Geographies project with the Essex Gaming Community.
'The World After' is a new fantasy table-top roleplay game inspired by the wildlife and landscape of Canvey Wick; an abandoned oil refinery turned nature reserve, now recognised as one of the most bio-diverse sites in the UK. The project imagines a game space where community is created through diversity in a post-human world, with much of the monsters and creatures inspired by wildlife from the site.
We now need your help to create a full-colour hardcover book for the game packed with rules, setting, art, bestiary and a starting adventure, developed in collaboration with a dedicated group of local artists and gamers. Help us bring this new world to life by becoming a project supporter today, or help us spread the word to help us reach our target!
Elmer Square
Essex, SS1 1NB
Random Acts, Channel Four, Watch Online
Added on December 7, 2018 by Claire Blandy.
An edited version of "The End of the World" by David Blandy, 2016-17 was shown in the finale episode of Random Acts on Channel Four
Watch online here
Rivers of Emotion, Bodies of Ore
Rivers of Emotion, Bodies of Ore is a catalogue designed by Thomas Nordby/Yokoland and published by Uten Tittel (Not Yet Titled Press), Oslo, in collaboration with Kunsthall Trondheim. The publication is supported by Arts Council Norway.
A publication with newly written essays by Johanna Dahlin & Martin Fredriksson, Sean Dockray, Mats Ingulstad & Pål Thonstad Sandvik, Jan M. Padios and Lisa Rosendahl.
Film London Jarman Award 2018 shortlist announced
The Film London Jarman Award
The Film London Jarman Award recognises and supports artists working with moving image and celebrates the spirit of experimentation, imagination and innovation in the work of UK-based artist filmmakers. The Award is inspired by visionary filmmaker Derek Jarman.
The 2018 shortlisted artists are:
Jasmina Cibic
Lawrence Lek
Hardeep Pandhal
Margaret Salmon
The winner of this year's Film London Jarman Award will be announced in November 2018.
Dale Berning Sawa at The Guardian
Finding Fanon Part Three, Larry Achiampong & David Blandy, 2017 Photo: Claire Barrett
Idea of North Review- Corridor8
08.06.2018 — Review on Corridor8 by Grace Denton
Idea of North, BALTIC Centre for Contemporary Art, Gateshead
The Wall & The Incongrous, Larry Achiampong & David Blandy 2018
New Geographies Commissions announced
Maev Kennedy at The Guardian on the New Geographies project which was announced on May 30th 2018, which will involve working with partners across the East of England to deliver 10 ambitious artist commissions.
See article here
David Blandy will be working on location at Canvey Island, in partnership with Focal Point Gallery, Southend-on-Sea
www.newgeographies.uk
Follow #Newgeog for social media updates on the project.
Experiments in Art & Science: Kettle's Yard & The Gurdon Institute, May 12th, 12-4pm
Experiments in Art & Science: Kettle's Yard & The Gurdon Institute
Kettle's Yard, Cambridge
Join artists Rachel Pimm and David Blandy at Kettle's Yard along with scientists from the Gurdon Institute in an afternoon of hands-on activities and talks that showcase their latest art and science collaborations.
From 2-3pm there will be a panel discussion between artists Rachel Pimm and David Blandy and scientists Professor Eric Miska and Dr Philip Zegerman, chaired by Experiments in Art & Science curator Harriet Loffler
Image credits: Photography by Ashley Campbell, Alessio Strano, Lewis Evans and David Blandy, courtesy of the Gurdon Institute and Seventeen Gallery
Experiments in Art & Science: The Gurdon Institute & Kettle's Yard Cambridge
Added on February 19, 2018 by Claire Blandy.
It's funny how neurons look like an image from the Hubble telescope. I've been working with some very clever scientists from the Livsey Lab @GurdonInstitute & @kettlesyard in Cambridge, they are creating cerebral cortex cells, which make up the brain's grey matter, from a small sample of human skin. In particular they are looking at the development of brain diseases such as Alzheimer's, watching the diseases develop in real time in order to work out a way of stopping it. Seeing these stem cells being grown into neurons is fascinating. I've been thinking about memory, language, consciousness and data. @harrietloffler & @h.doerflinger talk about the project on Kettle Yard's website. I can't wait to see what the other artists involved are discovering as well @rachelpimm @wilsonlaurawilson I'll be going for another visit to the lab soon. ➡ www.kettlesyard.co.uk/about/news/experiments-art-science/ #ExperimentsArtScience #KettlesYard
Experiments in Art & Science: The Gurdon Institute & Kettle's Yard
Added on January 30, 2018 by Claire Blandy.
Curator Harriet Loffler and Scientist & Public Engagement Manager Hélène Doerflinger discuss the project 'Experiments in Art & Science', a new collaboration that brings three contemporary artists to the Gurdon Institute, in partnership with Kettle's Yard, Cambridge, and funded by Wellcome.
Scientists at the Gurdon Institute will collaborate with each artist over a period of several months from Jan to May 2018.
The artists:
Rachel Pimm
The Gurdon Institute
Kettle's Yard
We will be announcing the events over the course of the next three to four months. All of the activity can be found on the Gurdon Institute and Kettle's Yard websites and you can follow on Twitter and Instagram with the hashtag #ExperimentsArtScience.
Exhibition dates extended, The End of the World, Seventeen 17-27 Jan 2018
Added on January 5, 2018 by Claire Blandy.
Exhibition extended: David Blandy – The End of the World reopens 17th January and will close 27th January 2018, Seventeen Gallery, London
Installation image at Seventeen, London
Photo credit: Damian Griffiths
Child of the Atom- David Blandy, Vdrome, Nov 24-Dec 9
Added on November 23, 2017 by Claire Blandy.
Child of the Atom is presented by Vdrome on the occasion of David Blandy's solo exhibition "The End of the World," viewable until December 16th at Seventeen, London
Friday November 24th-Saturday December 9th 2017
Vdrome is an online platform that offers regular, high quality screenings of films and videos directed by visual artists and filmmakers, whose production lies in-between contemporary art and cinema.
Each screening is presented during a limited period, as in a movie theatre.
Still from Child of the Atom, David Blandy, 2010
Image: Claire Barrett
Vdrome makes available a program of exceptional artists's films and videos that are selected due to their importance, quality and innovative strength, many of which are only shown in the context of film festivals, exhibitions or specific surveys, being therefore of very limited access.
Vdrome is an initiative conceived and promoted by Mousse.
Curated by: Edoardo Bonaspetti, Jens Hoffmann, Andrea Lissoni and Filipa Ramos.
Managing Editor: Enrico Boccioletti
Private view Thursday 2nd Nov, The End of the World, Seventeen Gallery
Added on October 31, 2017 by Claire Blandy.
David Blandy – The End of the World
PV Thursday 2nd November 6pm
3rd November to 16th December 2017
The Last Two Million Years, David Blandy, 2017
THE GUILD OF PSYCHOTHERAPISTS: Panel discussion & film screening , Fri 30th June
FINDING FANON TRILOGY CPD EVENT FOR GUILD MEMBERS, STUDENTS, TRAINEES & FRIENDS
SCREENING AND DISCUSSION WITH THE ARTISTS LARRY ACHIAMPONG AND DAVID BLANDY AROUND RACE, RACISM, ART AND THERAPY WITH A PANEL LEAD BY PSYCHOTHERAPIST CHARLES BROWN
The Guild of Psychotherapists
47 Nelson Square, London SE1 0QA
Friday 30TH June 7.00 - 9.00PM
The Finding Fanon project (2015–17) by Larry Achiampong and David Blandy is inspired by the lost plays of Frantz Fanon (1925–1961), whose work explored the trauma of colonialism and the consequences of decolonisation. Frantz Fanon wrote three plays that remain unpublished and were never performed.
The two artists negotiate Fanon's ideas, examining the politics of race, racism and the post-colonial, and how these societal issues affect the artists' relationship and reflect on wider social issues in the current politic climate of brexit. The discussion looks at the impact this has on the analytic relationship and the consequences for therapy in the 21st century.
The Guild of Psychotherapists - and our low fee clinic - is situated in one of the most ethnically and racially diverse boroughs in the country. Recognising this calls for creating conditions where, at a minimum, psychotherapy organisations can fully reflect the society in which they are located.
The members and trainees who work in the Clinic and have been engaged with the community are committed to developing a narrative towards achieving greater psychoanalytical understandings when working with ethnic diversity for the benefit of our trainees, patients and supervisees.
There will be a presentation by the artists of their work followed by a panel discussion and questions from the audience.
Preview: Thursday 6 July, 6-8pm, Plymouth Arts Centre
Larry Achiampong & David Blandy: Finding Fanon Sequence
Thursday 6th July 2017 - Saturday 2nd September 2017
Preview: Thursday 6 July, 6-8pm. David Blandy and Larry Achiampong will be in conversation with Ben Borthwick, PAC Artistic Director at 7pm
Finding Fanon Part One, Larry Achiampong & David Blandy, 2015
Image credit: Claire Barrett
The exhibition premiere of Larry Achiampong and David Blandy's film trilogy Finding Fanon (2015—17) is a moving and multi-layered exploration of race, identity and globalisation. Inspired by the radical thinker Frantz Fanon (1925—1961), the trilogy considers Fanon's ideas about the mental distress caused by colonialism and the social and cultural consequences of decolonisation, and the ways race, racism and societal issues affect our relationships. The films move between past, present and future, blending personal histories and pop culture with science fiction and post-colonial theory. Footage of the artists shot in empty coastal and rural locations is collaged with their avatars wandering the deserted scenarios of Grand Theft Auto.
Alongside their collaborative work, the exhibition includes pieces by each artist from their individual practices, continuing their exploration of how we navigate the digital and physical worlds of the twenty-first century.
We will be screening David Blandy's short film Tutorial before the cinema screenings of Inversion and My Cousin Rachel for the first week of the exhibition (from Friday 7 to Thursday 13 July). Achiampong (b. 1984) and Blandy (b.1976) have been collaborating as Biters and on the Finding Fanon series since 2013.
Larry Achiampong is a British—Ghanaian artist who has exhibited and presented projects in UK and abroad. David Blandy is represented by Seventeen Gallery and his films are distributed by LUX.
Tate Modern screening: 'Finding Fanon Trilogy', 24 May 7-9pm
Tate Modern Film
The Finding Fanon Trilogy
24 May 2017 at 19.00–21.00, £8 Concessions available
Starr Cinema
SE1 9TG
Finding Fanon Part Three, Larry Achiampong and David Blandy, 2016; Photo Claire Barrett
A moving and multi-layered exploration of race, identity and globalisation inspired by the radical thinker Franz Fanon
The Finding Fanon trilogy (2015–17) by Larry Achiampong and David Blandy blends personal histories, pop culture and post-colonial theory to examine how we navigate the digital and physical worlds of the twenty-first century. Join us for this exclusive screening – the first time the trilogy has been screened together – followed by a conversation between the artists.
Finding Fanon Part One 2015
Ultra HD colour video, Stereo Sound, 16:9, 15 min
Directors, writers and composers: Larry Achiampong & David Blandy
Supported by Arts Council England
Finding Fanon Part Two 2015
Ultra HD colour video, Stereo Sound, 16:9, 9 min
Produced by Artsadmin
Commissioned by Brighton Digital Festival
Finding Fanon Part Three 2017
Supported by Arts Council England and Wysing Arts Centre
In Larry Achiampong and David Blandy's collaborative practice, they share an interest in popular culture and the decolonial position. They examine communal and personal heritage, using performance to investigate the self as a fiction, devising alter-egos to point at their divided selves.
Larry Achiampong (b. 1984) is a British-Ghanaian artist who has exhibited, performed and presented projects in various institutions within the UK and abroad including the Logan Center for the Arts, Chicago; Tate Britain and Tate Modern, London; Hauptbahnhof (Documenta13), Kassel; Iniva, London; and the ICA, London.
David Blandy (b. 1976) has exhibited at venues nationally and worldwide such as Bloomberg Space, London; The Exchange, Newlyn Art Gallery; Kiasma Contemporary Art Museum, Helsinki; MoMA PS1, New York; and Museum of Contemporary Art, Shanghai. He is represented by Seventeen Gallery and his films are distributed by LUX.
The J Isaacs Charitable Trust
PRAKSIS EDITIONS: Larry Achiampong & David Blandy
A beautiful archival print created exclusively for PRAKSIS by UK based artists Larry Achiampong and David Blandy launches this range of collectable contemporary artworks.
Finding Fanon Gaiden: Delete (Sara's Story), Larry Achiampong & David Blandy, 2016
Signed edition of 75.
Price: 879.00 Norwegian Kr
Pigment inkjet print on 310gsm Ilford Prestige pearlescent paper, 11.6 x 20.7 cm
25 per cent of profits from the sale are donated to Mennesker i Limbo to support their ongoing campaign for the rights of paperless migrants.
Finding Fanon Gaiden: Delete (Sara's Story) shows a soberly dressed, lone female traveller walking at sunset along a railway track in a barren, uncanny digital landscape. Who is she and why is she there? What is her destination, and will she make it?
Through their work, Achiampong and Blandy examine ideas of communal and personal heritage, using performance to investigate cultural hierarchies and the "fiction of the self". Over the past three years, Achiampong and Blandy have exhibited, performed and showcased artworks and projects in the UK and internationally together in spaces such as Tate Modern (London), Fabrica (Brighton), Iniva (London), Modern Art Oxford, Spike Island (Bristol), ICI/Savvy Contemporary (Berlin) and Stony Island Arts Bank (Chicago).
PRAKSIS is an Oslo-based not-for-profit organisation running multidisciplinary residencies that focus on developing creative practices through shared experience and cross-cultural exchange.
Call for Papers: BLACK FILM BRITISH CINEMA CONFERENCE 2017
BLACK FILM BRITISH CINEMA CONFERENCE 2017
The Politics of Race in Contemporary Film and Digital Practice
Goldsmiths, University of London (Day One) and Institute of Contemporary Arts (Day Two)
Professor Sarita Malik, Brunel University
Dr Kara Keeling, University of Southern California
June Givanni, Pan African Cinema Archives
Chi Onwurah MP
Ruth Caleb OBE, Former Head of BBC Drama Group/Film and TV Producer
Gill Henderson, Former Chief Executive of London Film and Video Development Agency
Matimba Kabalika, British Film Institute
Whether we consider the rise of the concept of diversity, the on-screen representation of identities, the off-screen workforce, the production trends of film institutions, new forms of independent production opened up by new media, or film education and talent development, questions of race and ethnicity remain central to contemporary British film.
This conference will mark nearly 30 years since the original Black Film, British Cinema conference at the ICA and its subsequent publication, which has been a huge influence on scholars exploring race, culture and the politics of representation. Some of its core thinking by Kobena Mercer, Stuart Hall, Paul Gilroy and others remains an excellent point to consider what has, and has not, become of black and Asian film and TV production in the UK.
The aim of this two-day conference is to consider the politics of race in contemporary British cinema and visual practice and reflect on almost 30 years of black film production vis-a-vis the institutional, technological, textual, cultural and political shifts that have occurred during this period. We invite scholars, early career researchers, postgraduate students and practitioners working at the intersection of film, TV, Moving Image, Media and Communication studies, Sociology, Politics and Cultural Studies. We would encourage contributors to reflect on themes, challenges and questions central to race and British film in terms of governance, production, representation, exhibition and spectatorship. These include (but are not limited to):
The politics of representation in contemporary film and digital practice
Diversity and film policy
The representation/politics of race in new digital platforms
Understandings of 'Black film' in the context of recent social, political and cultural change
The politics of gender and sexuality and intersectional approaches to black and Asian film and visual practice
The political economy of 'Black film'
The cultural, geographical and political contexts of black and Asian film production
Participatory film cultures and movements
Methodologies for understanding contemporary film, representation and access.
Film in postcolonial and race critical theory
The relevance and cohesiveness of 'black' as an ethnic category in film production, policy and criticism
New Ethnicities, the Black intelligentsia and film and TV production
The emergence of new sub genres (i.e Urban Film)
Higher Education, film studies and race, and approaches to Black film pedagogy
Race and diaspora in international cinema
Representation, identity and the ideology of race and ethnicity
Abstract Deadlines and Submission Process:
3rd February 2017. Deadline for paper submission. Please submit proposals for 15 minute papers here. The submission should include the following: title and name, institutional affiliation and address, and email address, together with a paper title and abstract of not more than 300 words.
27th February 2017 Paper proposers notified of decision by conference committee. Conference registration opens.
Thursday 17th May 2017. Conference starts in London.
Conference Organisers: Dr Clive James Nwonka (University of Greenwich), Dr Anamik Saha (Goldsmiths, University of London)
Click here for a pdf for the Call for Papers


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Ontario health minister asks Ottawa for extension on safe injection sites as review continues
By Kristin RushowyQueen's Park Bureau
Sat., Sept. 29, 2018timer3 min. read
Ontario is asking the federal government for an extension as it continues to look at the future of safe injection sites.
"We continue to take the ongoing opioid crisis very seriously. I have reviewed the latest data, evidence and current site models, visited various sites and held consultations," said Health Minister Christine Elliott in a written release Friday. "I am now in the process of finalizing my recommendations.
"This is an important determination that we need to get right; and one that must not be rushed. To that end, we are officially asking the federal government for an extension of Ontario's Class Exemption under the Controlled Drugs and Substances Act while we conclude our review."
Earlier in the day in Etobicoke, Premier Doug Ford said he expected to announce a final decision "next week."
The province has been funding a number of sites that hire nurses who supervise users as they inject themselves and then monitor them for signs of overdose or other health issues.
After the June election, the government put a hold on opening additional sites that the previous Liberal government had announced.
With Doug Ford as premier, city braces for fight over supervised injection services
Toronto overdose deaths highlight need for prevention sites, advocacy group says
Editorial | Ontario's Ford government shouldn't close supervised injection sites
The Health Ministry has since been holding consultations over the past few months with community leaders and those who visit and use such sites.
About one-quarter of the 4,000 people who die each year in Canada from opioid overdose are from Ontario, or an average of about three people each day.
New Democrat MPP Bhutila Karpoche, her party's mental health and addictions critic, accused the government of unnecessary delay.
"As the Ford government dithers, lives are shattered, families are destroyed, and people die," said Karpoche, who represents Parkdale—High Park.
"... It's time for the Ford government to stop standing in the way of health care professionals trying to save lives."
In the past, Ford has said he does not support such sites, and prefers rehabilitation. Numerous studies have indicated that safe injection sites can save lives in the midst of an opioid epidemic.
Elliott, however, has said they are "not as effective as some people think they are."
Residents near the Moss Park site, which opened last year, have complained about frequent drug deals, discarded needles and passersby feeling unsafe.
"Our government's overriding priority is to ensure that all efforts to combat opioid addiction are designed to introduce people into rehabilitation and that those struggling with addiction get the help they need," Elliott also said.
"That's why our government has committed to investing $3.8 billion in mental health, addictions and housing supports over 10 years."
An open letter to Elliott from community health centres across the province said the delay will only give the sites another month, and "as providers of these services we need to know as soon as possible when your government expects to conclude its review of supervised consumption services and overdose prevention sites."
It says since the additional sites were paused — in St. Catharines, Toronto and Thunder Bay — "at least 28 people have died from overdose in those communities … (the sites) need to open as soon as possible to prevent further deaths."
They say the "evidence is abundantly clear from international research and our experience on the front lines in Ontario: supervised consumption and overdose prevention play vital roles in helping people get the help they need before a catastrophe takes place."
With files from Robert Benzie
Kristin Rushowy is a Toronto-based reporter covering Ontario politics. Follow her on Twitter: @krushowy


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How to Play Graphics-Intensive Android Games on PC
The age of mobile games with 2D graphics and bad gameplay is over. Modern mobile phones and the advancements of operating systems brought forward never before experienced visually pleasing mobile games. There are countless mobile games with high graphics and exciting gameplay.
These games range from genres like RPG to racing and often require players to have flagship phones with big screens and good GPUs like Asus ROG Phone and Samsung Galaxy Note. In the modern world, gamers tend to start using Android on PC to play games. One of the best ways to run Android on PC is to install an Android emulator like LDPlayer. Modern emulators come with various advanced features such as hardware acceleration, adjustable resolution, high FPS support, controller support, operation recording, key mapping, etc. And some of them even have the ability to run multiple instances of apps/games at the same time. The latest versions of the top emulators support Android Nougat version 7.1.2.
In order for a game to be played at the maximum graphics settings on a PC the emulator that the game is installed on should be 100% compatible with the game and it should have the ability to properly manage the computer's CPU and GPU. In some cases, if the Android emulator which is installed does not properly support the game, the gameplay can be laggy and the graphics can look less pleasing.
There are many types of Android emulators in the market, some of them are designed for Android developers to test out their applications and there are Android emulators that are purely finetuned for gaming. By using these emulators gamers can experience the best graphics possible. Some of these emulators are paid and some are free. When comparing with other Android emulators, the most recommended free Android emulator for PC is LDPlayer.
LDPlayer contains some really interesting features. It has a high FPS mode for specific games, like PUBG, Call of Duty Mobile, etc and if you install LDPlayer on a system with high-end graphics cards you will be able to run those games at high frame rates like 300FPS.
LDPlayer makes the use of a computer's CPU (Central Processing Unit) and the GPU (Graphics Processing Unit) to their full potential and further optimize the game in order to bring out the best possible gameplay experience and graphics to the gamers. LDPlayer also uses and conducts further research on some advanced core technologies such as virtualization technology, Android operating system, and Linux kernel in order to create a benchmark in Android emulator performance.
The players can utilize their graphics cards for the maximum and play games on LDPlayer. It is recommended to update graphics drivers for the Android emulator to properly use the graphics card to the advantage.
Unlike other emulators, LDPlayer can run games at higher frame rates. This can enable the players who play games such as PUBG to have a competitive advantage over conventional gamers that use mobile phones.
Some of the games are highly demanding and in most cases, some players experience issues such as lag and FPS drop when playing on any Android emulator such as LDPlayer. To eliminate these kinds of problems and to play the game smoothly, the players must finetune the emulator to work in harmony with the PC setup. This can be done in simple ways such as:
Setting the CPU and RAM to the highest cores and memories respectively.
Adjusting in-game graphics settings to the best quality.
Updating graphics driver of the PC
LDPlayer runs on a technology called Virtualization Technology (VT) which is available on PCs. Virtualization which was formerly known as Vanderpool is an advanced technology which enables the computer's CPU to act as you have several computers. This will enable the PC to run several operating systems at the same time.
Since the Android system of emulators such as LDPlayer are not the same and they use virtual computers to run the system, it's highly recommended turning on Virtualization Technology (VT) to make sure that the Android emulator makes use of the resources of the CPU on your computer. This technology does not have a bad influence on your computer equipment.
LDPlayer is the best choice of an Android emulator for graphics-intensive games. This is mainly because of its advance use of technologies such as Virtualization technology and its neat features. The players are able to enhance the graphics of the games by following simple steps and guidelines. Each step to follow is properly documented on LDPlayer official website and anyone can reach out to their customer support to clarify any problems. So why not install it on the latest version of LDPlayer which can be downloaded free of charge, happy gaming!
Author Sumit
Sumit is a Tech and Gadget freak and loves writing about Android and iOS, his favourite past time is playing video games.
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Q: How to configure hibernate properties without persistence xml I have a Spring MVC web setup with a Spring ORM/Hibernate persistence layer. I have configured my LocalContainerEntityManagerFactoryBean to auto-scan for persistence entities on a package so I don't need persistence xml configuration.
How can I set up my beans configuration so it shows the generated queries and refreshes the database with model changes on startup?

A: LocalContainerEntityManagerFactoryBean extends AbstractEntityManagerFactoryBean, which contains setJpaProperties(Properties) method. You can pass custom properties to this bean using this method.
Properties properties = new Properties();
properties.put("hibernate.show_sql", "true");
properties.put("hibernate.hbm2ddl.auto", "create-drop");
entityManagerFactoryBean.setJpaProperties(properties);

Or if you want to do it on the Spring config files:
<bean id="entityManagerFactory" class="org.springframework.orm.jpa.LocalContainerEntityManagerFactoryBean">
    ...
    <property name="jpaProperties">
        <props>
            <prop key="hibernate.show_sql">true</prop>
            <prop key="hibernate.hbm2ddl.auto">create-drop</prop>
        </props>
    </property>
    ...
</bean>

JavaDoc

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