text:
Fugitive Graham Potter 'using hair colour, wigs, fat suits' to hide during nine-year pursuit, police say
ABC Illawarra
/ By Ainslie Drewitt-Smith
Posted TueTuesday 23 JulJuly 2019 at 4:11amTueTuesday 23 JulJuly 2019 at 4:11am
A police photo of camping gear and personal items believed to belong to fugitive Graham Potter. (Supplied: Victoria Police)
Police in Victoria have released never before seen images of campsite tools and handwritten notes detailing the disguises used by one of the country's most wanted fugitives who has been on the run for nine years.
Graham Potter is wanted by police to answer charges of conspiracy to murder
The 61-year-old has been on the run since 2010 after he failed to appear in court
Police say he has been using fat suits and wigs to disguise himself and is likely living in a rural area
Graham Gene Potter has been wanted by police since February 2010 when he failed to appear at the Melbourne Magistrate's Court to front conspiracy to murder charges.
The 61-year-old was last sighted by police in Tully, Queensland, when he ran from a vehicle police which had attempted to intercept him in August the same year.
Graham Potter, 61, has been wanted by police on conspiracy to murder charges for nine years. (Supplied: Victoria Police)
Victoria Police have now released photographs taken from a campsite officers raided in Queensland, inhabited by Potter, in an appeal for fresh information.
"The images show food, equipment and weapons seized from the scene, along with detailed hand-written notes about surviving on the run from police," said Detective Leading Senior Constable Brendan Finn from the Fugitive Taskforce.
"The documents further detail threatening to kill anyone who recognises him."
'Fat suits, wigs used as disguise'
It is alleged Potter often changes his appearance, uses aliases to avoid detection, and has a number of manual labour skills.
"We know he is known to disguise himself using hair colour, wigs and fat suits," Senior Constable Finn said.
Police say Graham Potter wrote notes and highlighted job ads while at a campsite in Queensland in 2010. (Supplied: Victoria Police)
"He has welding, beekeeping, hydroponics, aquaponics, gold prospecting and earth moving skills, and is most likely to look for work as a caretaker, farm hand or outback station hand."
A number of Potter's handwritten notes about how to disguise himself while on the run has been released by police. (Supplied: Victoria Police)
Police believe Potter is likely in a relationship and is living in a rural area in Australia, and Senior Constable Finn has warned particularly women to be on the look out for him.
"This is not a man you want as a friend," Senior Constable Finn said.
"This is someone who has a history of incredibly significant violence, including the murder of a woman in NSW, and there's nothing to indicate that he won't act with violence again."
Previously imprisoned for murder
Formerly a coal miner in the New South Wales Illawarra region, Potter served a 15-year sentence for killing and dismembering 19-year-old Kim Barry in Corrimal in 1981.
Graham Gene Potter as seen on CCTV in August 2010 in far north Queensland. (Supplied: Victoria Police)
He is now wanted by police for conspiracy to murder, and in relation to Commonwealth drug charges.
"Police have been looking for this man for over nine years and he one of the most significant fugitives on our books," Senior Constable Finn said.
"This is a man with a significant history of violent offending and not someone we want out there in our community."
Police are re-appealing for information about his whereabouts but warn he should not be approached if sighted.
Potter is described as Caucasian, 175 centimetres tall, with a medium to solid build, fair complexion, brown eyes, brown greying hair and a ginger beard.
A $100,000 reward for information leading to his capture was announced in 2011 and remains in place.
Police are urging anybody who sights Potter not to approach him but to contact triple zero (000) immediately.
Posted 23 JulJuly 2019TueTuesday 23 JulJuly 2019 at 4:11am
Unconfirmed sightings intensify hunt for Australia's most wanted criminal
New lead in hunt for fugitive Graham Potter
Police offer reward to find escapee
Corrimal
Amanda Gorman makes history delivering her powerful poem at Biden's inauguration
Hydraulic fracturing gears up in the outback, and with it seismic monitoring
Posted 4mminutes agoThuThursday 21 JanJanuary 2021 at 3:19am
Extreme heatwave in NSW to provide 'shock to the system' after cool summer


text:
Home / Explore film & TV / Latest from the BFI / BFI news, features and opinion / Lists
10 great German Expressionist films
From The Cabinet of Dr. Caligari to Nosferatu, the trend for shadows, angst and exaggerated sets in 1920s German cinema laid the foundations for everything from film noir to the horror genre.
Pamela Hutchinson , Alex Barrett
Destiny (1921)
Destiny is back in cinemas from 9 June 2017
Buy tickets for Destiny at BFI Southbank
German Expressionism is one of the most recognisable styles of silent cinema, although it can sometimes be slippery to define. Expressionism is an artistic mode that first appeared in poetry and the visual arts at the beginning of the 20th century, before moving into fields such as theatre, architecture and cinema following the First World War. Offering a subjective representation of the world, Expressionism descends partly from German Romanticism and reveals the angst of its human figures through their distorted, nightmarish surroundings.
In cinema it is most particularly associated with tilting, impossible sets, high angles and deep shadows. The Italian term chiaroscuro is often used to describe the high-contrast arrangement of light and darkness, but German film critic Lotte Eisner preferred a term from her own language: Helldunkel, which she defined as "a sort of twilight of the German soul, expressing itself in shadowy, enigmatic interiors, or in misty, insubstantial landscapes".
German Expressionist cinema flourished after the battlefield horrors of the war, and the economic devastation caused by its aftermath. There are a few films that can be described as pure German Expressionism, such as the landmark The Cabinet of Dr. Caligari (1920), but while the movement thrived during the Weimar years, it became diluted and intermixed with other styles, including the 'Neue Sachlichkeit' (new objectivity) of realist street films. This variation would endure for decades in the sharp angles and pooling shadows of classic film noir.
Fritz Lang's Destiny (1921), for example, re-released in cinemas on 9 June, contains many distinct Expressionist elements, but as Eisner herself argues, it adds in many other styles too, becoming at one point a parody of the form itself. If you want to experience the breadth of German Expressionist silents, there are a few classic examples made by the artists who called themselves "apocalyptic adolescents" and whose dark visions continue to haunt the cinema.
Pamela Hutchinson
The Cabinet of Dr. Caligari (1920)
Director Robert Wiene
Undoubtedly one of the most iconic and influential films of all time, The Cabinet of Dr. Caligari is justly famed for the skewed, anxiety-inducing angles of its painted backdrops, and for the nightmarish tension of its macabre storyline, in which Francis (Friedrich Feher) attempts to solve a series of murders that he suspects to be the work of an insane carnival hypnotist, Dr Caligari (Werner Krauss), and his somnambulist sideshow attraction, Cesare (Conrad Veidt).
The film has often been read as an allegorical response to the First World War, with Cesare representing the innocent soldiers who were driven to murder under the instructions of an abusive authoritarian government (represented by Caligari), though the film's unsympathetic portrayal of all its figures of authority, including the ineffective police and rude town clerk, perhaps points towards a wider, less specific social critique of the postwar world.
Alex Barrett
From Morn to Midnight (1920)
Director Karl Heinz Martin
Still shocking even today, From Morn to Midnight remains one of the boldest examples of German Expressionist cinema. Based on a play by one of the era's most respected Expressionist writers, Georg Kaiser, the story centres on a bank cashier (Ernst Deutsch) who steals money after becoming enraptured by an elegant customer (Erna Morena). Driven by lust, he begs the customer to come away with him, but she laughs in his face. Distraught at having to return home to his drab family life, the cashier goes on the run, determined to seek out the pleasure and passion he has been missing. But he is continually haunted by visions of death, and his relationship with the stolen money soon sours.
Martin had previously directed the text on stage, where he had attempted to disconnect the work from reality – something he took even further with the film, using a minimalist, sketch-like style to move it towards the subjective emotions of the cashier's point of view.
The Golem: How He Came into the World (1920)
Directors Paul Wegener and Carl Boese
The third and only surviving part of Paul Wegener's Golem trilogy, the 16th-century-set The Golem: How He Came into the World was a prequel to the previous, contemporary-set instalments and, as such, cleaves more closely to the traditional Jewish legend. In the Prague ghetto, Rabbi Löw (Albert Steinrück) moulds a Golem (Wegener) from clay, intent on protecting his community from a terrible tragedy that he has seen foretold in the stars. Löw then summons forth the spirit Astaroth, desperate to learn from him the magic word that will bring the Golem to life.
Much like The Cabinet of Dr. Caligari, The Golem was to leave a lasting impact. In its innovative depiction of Astaroth's invocation, and in its portrayal of the peaceful interaction between the 'monster' and a young girl, the film anticipates a number of later works, including both Weimar-era classics like F.W. Murnau's Faust (1926) and future Hollywood productions like James Whale's Frankenstein (1931).
Director F.W. Murnau
Something of an anomaly within Expressionist cinema, Nosferatu makes extensive use of real-world locations, rather than recreating its world solely within a studio. As such, it harks back to Expressionism's roots in German Romanticism, and there is a lyrical, pastoral beauty to its early scenes. But, as the film progresses, the images become increasingly tinged with dread, and Murnau makes the familiar seem strange, imbuing his real-life locations with eerie Expressionist touches and slowly moving us from reality to nightmare.
An unauthorised adaptation of Bram Stoker's Dracula, Nosferatu relocates the novel's action from 1890s London to 1830s Germany, and transforms the eponymous vampire into a rat-toothed embodiment of a preternatural force that symbolises the inevitability and inescapability of death. Stoker's widow sued over the unlawful use of the text, and the courts decreed that all prints of the film should be destroyed – but, thankfully, copies had already spread far and wide, and the film survived its attempted annihilation.
Watch Nosferatu online on BFI Player
Warning Shadows (1923)
Director Arthur Robison
In Arthur Robison's 1923 film, an illusionist uses the famed revelatory shadows of German Expressionism to create a morality play for a gathering of rich friends in a manor house. The count (Fritz Kortner), who has invited the dinner guests, is subsumed with jealousy over his beautiful young wife, and with good reason – the shadow-play acts as a warning about the consequences of adultery and possessiveness. Kortner's bulging eyes and twisted features are facets of a classic Expressionist performance style, as his unnatural feelings contort his face and body into something that appears other than human.
Presented without intertitles, the film, just like the play within it, constructs its story purely from shadows. The guests watch in horror as the puppeteer commandeers their shadows and their hidden, basest selves are projected on the wall. The truth is found in the darkness: at one point the count's shadow falls below a hunting trophy, so that his doppelganger assumes the horns of a cuckold.
The Hands of Orlac (1924)
In this traumatic body-horror tale, a concert pianist called Paul Orlac is given a hand transplant after he is caught in a train accident. The revelation that his new hands once belonged to a killer called Vasseur destroys his life. As well as no longer being able to play the piano, he fears that he will be drawn to violence, and he is too terrified to caress his wife.
Conrad Veidt gives a riveting performance as the traumatised pianist, in the tormented, monstrous Expressionist mode, as a man frightened of his own capacity for evil, while a leering Fritz Kortner plays Nera, a threatening associate of Vasseur's from the criminal underworld, and memorably appears as a disembodied head looming over Orlac's bed. Günther Krampf's Helldunkel photography enhances the atmosphere of moral murk as an innocent man absorbs the guilt of a murderer. The Hands of Orlac has been remade twice and inspired even more films, though few can match its mood of sustained menace and self-disgust.
Waxworks (1924)
Director Paul Leni
Following the pattern set by the likes of Destiny, Waxworks is an anthology of three tales occurring in different times and countries, framed by the story of a young poet (William Dieterle) who answers an advertisement for an "imaginative writer for publicity work in a waxworks exhibition". On reaching the exhibition, the poet attempts to woo the owner's daughter by creating outlandish backstories for wax exhibits of Harun al-Rashid (Emil Jannings), Ivan the Terrible (Conrad Veidt) and Jack the Ripper (Werner Krauss).
Before moving into directing, Leni had worked as an artist and designer, and here he gives each section a distinctive style to match their varied tones: Harun al-Rashid's story is marked by bulbous curves to emphasise its lustful playfulness, while the cramped spaces of Ivan the Terrible's story accentuate the Czar's sense of paranoia and persecution. The double exposures of the Jack the Ripper section, meanwhile, highlight its fever-dream, nightmarish quality.
Variety (1925)
Director E.A. Dupont
Described in the opening credits as "the tragedy of an acrobat", Variety is a melodrama with Expressionist touches, far removed from the Grand Guignol flavouring of the Expressionist horror cycle. In a story somewhat reminiscent of From Morn to Midnight, former acrobat Boss (Jannings) abandons his wife and child after succumbing to the seductive advances of a younger woman, Berta-Marie (Lya De Putti). Driven both by lust and the desire to reclaim his former glory, Boss quickly develops a trapeze routine with his new flame, but their relationship is complicated when their act – and Berta-Marie in particular – catches the attention of professional acrobat Artinelli (Warwick Ward).
Today, the film is perhaps most famous for perfecting the dazzling 'unchained' camera movement that cinematographer Karl Freund had pioneered a year earlier on Murnau's The Last Laugh (1924) – but the film never becomes style over substance, and the virtuoso camerawork is always used to support the emotional underpinning of the film's gripping and involving story.
The Student of Prague (1926)
Director Henrik Galeen
Henrik Galeen's take on the Faust legend is a remake of the 1913 film of the same name, based on an Edgar Allen Poe story. With sets designed by Hermann Warm and ethereal cinematography by Günther Krampf, The Student of Prague typifies the Expressionist look in cinema, and the film once more reunites two of the actors most associated with the movement: Werner Krauss and Conrad Veidt. Veidt plays Balduin, a student who signs on for a loan from a mysterious stranger (Krauss) who takes his reflection in return – the implication being that the hero has lost his soul in the bargain. Balduin's doppelganger, which haunts him throughout the film, is both an illustration of his conflicted self and a harbinger of his own death.
In The Student of Prague's design, the exterior world, including stormy skies and blasted trees, reflects Balduin's interior struggles, with the Stimmung (or atmosphere of dread) mounting in intensity until Balduin's – and the film's – final crisis.
Director Fritz Lang
One of the most famous of all German silent films, Metropolis mingles traces of Expressionist style with gothic style and a futurist aesthetic that is frequently echoed in contemporary science-fiction cinema. Its extreme vision of a society utterly riven by class, with the rich breathing the fresh air in the bright light at the top of the city and the workers toiling below in the dark, is an Expressionist rendering of the economic imbalances in Weimar Germany, following hyperinflation and the industrial disputes of the early 1920s. The use of Helldunkel here expresses not just emotional angst but also social critique.
In Metropolis the crowd itself is a key part of the film's Expressionist design. The workers move in symmetrical, jerky patterns, as mechanical as the giant machines they serve, and the mob follows the robot Maria as helplessly as Cesare sleepwalks at the command of Caligari.
Buy tickets for Metropolis at BFI Southbank
Watch Metropolis online on BFI Player
Find silent film screenings at BFI Southbank
News, features and opinion on the world of film.
Explore the history of film in list form.
10 great silent horror films
10 great German films of the 21st century
Juliane Grieb
Metropolis at 90: five early sci-fi films that paved the way for Fritz Lang's classic
Past lives: Werner Herzog's Nosferatu the Vampyre
Geoff Andrew
Max Schreck, born on this day in 1879
Samuel Wigley
Where to begin with the Universal horror cycle
Christopher Machell
Where to begin with Val Lewton
Fritz Lang's M: the blueprint for the serial killer movie
Fritz Lang: 10 essential films
Matthew Thrift
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Aryna Sabalenka wins third straight title in Abu Dhabi
by Africazine
| January 13, 2021, 8:24 AM
ABU DHABI, United Arab Emirates — Aryna Sabalenka won her third straight tour title and 15th straight match by beating Veronika Kudermetova 6-2, 6-2 Wednesday in the Abu Dhabi Open final.
The fourth-seeded Belarusian, who won indoor tournaments in Ostrava and Linz at the end of last season, last lost in the third round of the French Open in October.
"I was doing everything I could in each match from the beginning (in Abu Dhabi) and I'm happy to start the season with a title," Sabalenka said. "I'm going to Australia, I'm confident with one thing, that I will do everything I can to win matches."
Sabalenka will rise three places to seventh in the rankings. She is 9-4 in career finals and 6-0 in the last 16 months. Kudermetova was playing in her first tour final.
"I think today is not my day because I was very slow," Kudermetova said. "I had a lot of mistakes."
The tournament in Abu Dhabi was hastily arranged by the WTA to offer players more match time after the Australian Open was rescheduled for February amid the coronavirus pandemic. It is the only WTA Tour event outside Australia in the run-up to the first major of the year.
Sabalenka and Kudermetova will now travel to Australia, where they will spend time in quarantine with limited practice opportunities ahead of the Australian Open and its warm-up events.
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text:
using namespace IECore;
using namespace IECoreMaya;

IE_CORE_DEFINERUNTIMETYPED( MayaScene );

// this stuff requires a mutex, as all them maya DG functions aint thread safe!
MayaScene::Mutex MayaScene::s_mutex;

MayaScene::MayaScene() : m_isRoot( true )
{
	tbb::mutex::scoped_lock l( s_mutex );

	// initialize to the root path:
	MItDag it;
	it.getPath( m_dagPath );
}

MayaScene::MayaScene( const MDagPath& p, bool isRoot ) : m_isRoot( isRoot )
{
	// this constructor is expected to be called when s_mutex is locked!
	m_dagPath = p;
}

MayaScene::~MayaScene()
{
}

std::string MayaScene::fileName() const
{
	throw Exception( "MayaScene does not support fileName()." );
}

MayaScenePtr MayaScene::duplicate( const MDagPath& p, bool isRoot ) const
{
	return new MayaScene( p, isRoot );
}

SceneInterface::Name MayaScene::name() const
{
	tbb::mutex::scoped_lock l( s_mutex );

	if( m_dagPath.length() == 0 && !m_isRoot )
	{
		throw Exception( "MayaScene::name: Dag path no longer exists!" );
	}

	std::string nameStr = m_dagPath.fullPathName().asChar();

	if( nameStr.size() <= 1 )
	{
		return SceneInterface::rootName;
	}

	size_t pipePos = nameStr.rfind("|");
	if( pipePos != std::string::npos )
	{
		return std::string( nameStr.begin() + pipePos + 1, nameStr.end() );
	}
	else
	{
		return nameStr;
	}
}

void MayaScene::path( Path &p ) const
{
	tbb::mutex::scoped_lock l( s_mutex );

	if( m_dagPath.length() == 0 && !m_isRoot )
	{
		throw Exception( "MayaScene::path: Dag path no longer exists!" );
	}

	std::string pathStr( m_dagPath.fullPathName().asChar() );
	boost::tokenizer<boost::char_separator<char> > t( pathStr, boost::char_separator<char>( "|" ) );

	p.clear();

	for (
		boost::tokenizer<boost::char_separator<char> >::iterator it = t.begin();
		it != t.end();
		++it
	)
	{
		p.push_back( Name( *it ) );
	}

}

Imath::Box3d MayaScene::readBound( double time ) const
{
	tbb::mutex::scoped_lock l( s_mutex );

	if( fabs( MAnimControl::currentTime().as( MTime::kSeconds ) - time ) > 1.e-4 )
	{
		throw Exception( "MayaScene::readBound: time must be the same as on the maya timeline!" );
	}

	if( m_isRoot )
	{
		MDagPathArray paths;
		getChildDags( m_dagPath, paths );

		Imath::Box3d bound;

		for( unsigned i=0; i < paths.length(); ++i )
		{
			MFnDagNode dagFn( paths[i] );
			Imath::Box3d b = IECore::convert<Imath::Box3d, MBoundingBox>( dagFn.boundingBox() );

			if( b.hasVolume() )
			{
				bound.extendBy( b );
			}
		}

		return bound;
	}
	else if( m_dagPath.length() == 0 )
	{
		throw Exception( "MayaScene::readBound: Dag path no longer exists!" );
	}
	else
	{
		MFnDagNode dagFn( m_dagPath );
		Imath::Box3d ret = IECore::convert<Imath::Box3d, MBoundingBox>( dagFn.boundingBox() );
		Imath::M44d invTransform = IECore::convert<Imath::M44d, MMatrix>( dagFn.transformationMatrix() ).inverse();
		return Imath::transform( ret, invTransform );
	}
}

void MayaScene::writeBound( const Imath::Box3d &bound, double time )
{
	throw Exception( "MayaScene::writeBound: write operations not supported!" );
}

DataPtr MayaScene::readTransform( double time ) const
{
	tbb::mutex::scoped_lock l( s_mutex );

	if( m_dagPath.length() == 0 && !m_isRoot )
	{
		throw Exception( "MayaScene::readTransform: Dag path no longer exists!" );
	}

	if( fabs( MAnimControl::currentTime().as( MTime::kSeconds ) - time ) > 1.e-4 )
	{
		throw Exception( "MayaScene::readTransform: time must be the same as on the maya timeline!" );
	}

	if( m_dagPath.hasFn( MFn::kTransform ) )
	{
		MFnDagNode dagFn( m_dagPath );
		return new IECore::TransformationMatrixdData( IECore::convert<IECore::TransformationMatrixd, MTransformationMatrix>( dagFn.transformationMatrix() ) );
	}
	else
	{
		return new TransformationMatrixdData( IECore::TransformationMatrixd() );
	}
}

Imath::M44d MayaScene::readTransformAsMatrix( double time ) const
{
	return runTimeCast< TransformationMatrixdData >( readTransform( time ) )->readable().transform();
}

void MayaScene::writeTransform( const Data *transform, double time )
{
	throw Exception( "MayaScene::writeTransform: write operations not supported!" );
}

bool MayaScene::hasAttribute( const Name &name ) const
{
	if( m_dagPath.length() == 0 && !m_isRoot )
	{
		throw Exception( "MayaScene::hasAttribute: Dag path no longer exists!" );
	}
	std::map< Name, CustomReader >::const_iterator it = customAttributeReaders().find(name);
	if ( it != customAttributeReaders().end() )
	{
		return it->second.m_has( m_dagPath );
	}
	return false;
}

void MayaScene::attributeNames( NameList &attrs ) const
{
	if( m_dagPath.length() == 0 && !m_isRoot )
	{
		throw Exception( "MayaScene::attributeNames: Dag path no longer exists!" );
	}

	attrs.clear();
	for ( std::map< Name, CustomReader >::const_iterator it = customAttributeReaders().begin(); it != customAttributeReaders().end(); it++ )
	{
		if ( it->second.m_has( m_dagPath ) )
		{
			attrs.push_back( it->first );
		}
	}
}

ObjectPtr MayaScene::readAttribute( const Name &name, double time ) const
{
	if( m_dagPath.length() == 0 && !m_isRoot )
	{
		throw Exception( "MayaScene::readAttribute: Dag path no longer exists!" );
	}
	std::map< Name, CustomReader >::const_iterator it = customAttributeReaders().find(name);
	if ( it != customAttributeReaders().end() )
	{
		return it->second.m_read( m_dagPath );
	}
	return 0;
}

void MayaScene::writeAttribute( const Name &name, const Object *attribute, double time )
{
	throw Exception( "MayaScene::writeAttribute: write operations not supported!" );
}

bool MayaScene::hasTag( const Name &name ) const
{
	if ( m_isRoot )
	{
		return false;
	}

	if( m_dagPath.length() == 0 )
	{
		throw Exception( "MayaScene::hasAttribute: Dag path no longer exists!" );
	}
	std::map< Name, HasFn >::const_iterator it = customTagReaders().find(name);
	if ( it != customTagReaders().end() )
	{
		return it->second( m_dagPath );
	}
	return false;
}

void MayaScene::readTags( NameList &tags, bool includeChildren ) const
{
	tags.clear();

	if ( m_isRoot )
	{
		return;
	}

	if( m_dagPath.length() == 0 )
	{
		throw Exception( "MayaScene::attributeNames: Dag path no longer exists!" );
	}

	for ( std::map< Name, HasFn >::const_iterator it = customTagReaders().begin(); it != customTagReaders().end(); it++ )
	{
		if ( it->second( m_dagPath ) )
		{
			tags.push_back( it->first );
		}
	}
}

void MayaScene::writeTags( const NameList &tags )
{
	throw Exception( "MayaScene::writeTags not supported" );
}

bool MayaScene::hasObject() const
{
	tbb::mutex::scoped_lock l( s_mutex );

	if( m_isRoot )
	{
		return false;
	}
	else if( m_dagPath.length() == 0 && !m_isRoot )
	{
		throw Exception( "MayaScene::hasObject: Dag path no longer exists!" );
	}

	for ( std::vector< CustomReader >::const_reverse_iterator it = customObjectReaders().rbegin(); it != customObjectReaders().rend(); it++ )
	{
		if ( it->m_has( m_dagPath ) )
		{
			return true;
		}
	}

	// if no custom object was detected, we try the general cortex converter
	unsigned int childCount = 0;
	m_dagPath.numberOfShapesDirectlyBelow(childCount);

	for ( unsigned int c = 0; c < childCount; c++ )
	{
		MDagPath childDag = m_dagPath;
		if( childDag.extendToShapeDirectlyBelow( c ) )
		{
			MFnDagNode fnChildDag(childDag);
			if ( fnChildDag.isIntermediateObject() )
			{
				continue;
			}

			FromMayaShapeConverterPtr shapeConverter = FromMayaShapeConverter::create( childDag );
			if( shapeConverter )
			{
				return true;
			}

			FromMayaDagNodeConverterPtr dagConverter = FromMayaDagNodeConverter::create( childDag );
			if( dagConverter )
			{
				return true;
			}
		}
	}

	return false;
}

ObjectPtr MayaScene::readObject( double time ) const
{
	tbb::mutex::scoped_lock l( s_mutex );

	if( m_dagPath.length() == 0 && !m_isRoot )
	{
		throw Exception( "MayaScene::readObject: Dag path no longer exists!" );
	}

	if( fabs( MAnimControl::currentTime().as( MTime::kSeconds ) - time ) > 1.e-4 )
	{
		throw Exception( "MayaScene::readObject: time must be the same as on the maya timeline!" );
	}

	for ( std::vector< CustomReader >::const_reverse_iterator it = customObjectReaders().rbegin(); it != customObjectReaders().rend(); it++ )
	{
		if ( it->m_has( m_dagPath ) )
		{
			return it->m_read( m_dagPath );
		}
	}

	// if no custom object was detected, we try the general cortex converter
	unsigned int childCount = 0;
	m_dagPath.numberOfShapesDirectlyBelow(childCount);

	for ( unsigned int c = 0; c < childCount; c++ )
	{
		MDagPath childDag = m_dagPath;
		if( childDag.extendToShapeDirectlyBelow( c ) )
		{
			MFnDagNode fnChildDag(childDag);
			if ( fnChildDag.isIntermediateObject() )
			{
				continue;
			}

			FromMayaShapeConverterPtr shapeConverter = FromMayaShapeConverter::create( childDag );
			if( shapeConverter )
			{
				return shapeConverter->convert();
			}

			FromMayaDagNodeConverterPtr dagConverter = FromMayaDagNodeConverter::create( childDag );
			if( dagConverter )
			{
				ObjectPtr result = dagConverter->convert();
				Camera *cam = runTimeCast< Camera >( result.get() );
				if( cam )
				{
					// Cameras still carry the transform when converted from maya,
					// so we have to remove them after conversion.
					cam->setTransform( new MatrixTransform( Imath::M44f() ) );
				}
				return result;
			}
		}
	}
	return 0;
}

PrimitiveVariableMap MayaScene::readObjectPrimitiveVariables( const std::vector<InternedString> &primVarNames, double time ) const
{
	// \todo Optimize this function, adding special cases such as for Meshes.
	PrimitivePtr prim = runTimeCast< Primitive >( readObject( time ) );
	if ( !prim )
	{
		throw Exception( "Object does not have primitive variables!" );
	}
	return prim->variables;
}

void MayaScene::writeObject( const Object *object, double time )
{
	throw Exception( "MayaScene::writeObject: write operations not supported!" );
}

void MayaScene::getChildDags( const MDagPath& dagPath, MDagPathArray& paths ) const
{
	for( unsigned i=0; i < dagPath.childCount(); ++i )
	{
		MDagPath childPath = dagPath;
		childPath.push( dagPath.child( i ) );

		if( dagPath.length() == 0 )
		{
			// bizarrely, this iterates through things like the translate manipulator and
			// the view cube too, so lets skip them so they don't show up:
			if( childPath.node().hasFn( MFn::kManipulator3D ) )
			{
				continue;
			}

			// looks like it also gives us the ground plane, so again, lets skip that:
			if( childPath.fullPathName() == "|groundPlane_transform" )
			{
				continue;
			}
		}

		paths.append( childPath );
	}
}

void MayaScene::childNames( NameList &childNames ) const
{
	tbb::mutex::scoped_lock l( s_mutex );

	if( m_dagPath.length() == 0 && !m_isRoot )
	{
		throw Exception( "MayaScene::childNames: Dag path no longer exists!" );
	}

	unsigned currentPathLength = m_dagPath.fullPathName().length();
	MDagPathArray paths;
	getChildDags( m_dagPath, paths );

	for( unsigned i=0; i < paths.length(); ++i )
	{
		if( paths[i].hasFn( MFn::kTransform ) )
		{
			std::string childName( paths[i].fullPathName().asChar() + currentPathLength + 1 );
			childNames.push_back( Name( childName ) );
		}
	}
}

bool MayaScene::hasChild( const Name &name ) const
{
	tbb::mutex::scoped_lock l( s_mutex );

	if( m_dagPath.length() == 0 && !m_isRoot )
	{
		throw Exception( "MayaScene::childNames: Dag path no longer exists!" );
	}

	unsigned currentPathLength = m_dagPath.fullPathName().length();
	MDagPathArray paths;
	getChildDags( m_dagPath, paths );

	for( unsigned i=0; i < paths.length(); ++i )
	{
		if( paths[i].hasFn( MFn::kTransform ) )
		{
			std::string childName( paths[i].fullPathName().asChar() + currentPathLength + 1 );
			if( Name( childName ) == name )
			{
				return true;
			}
		}
	}
	return false;
}

IECore::SceneInterfacePtr MayaScene::retrieveChild( const Name &name, MissingBehaviour missingBehaviour ) const
{
	tbb::mutex::scoped_lock l( s_mutex );

	if( m_dagPath.length() == 0 && !m_isRoot )
	{
		throw Exception( "MayaScene::retrieveChild: Dag path no longer exists!" );
	}

	MSelectionList sel;
	sel.add( m_dagPath.fullPathName() + "|" + std::string( name ).c_str() );

	MDagPath path;
	MStatus st = sel.getDagPath( 0, path );

	if( !path.hasFn( MFn::kTransform ) )
	{
		if( missingBehaviour == SceneInterface::ThrowIfMissing )
		{
			throw Exception( "MayaScene::retrieveChild: Couldn't find transform at specified path " + std::string( path.fullPathName().asChar() ) );
		}
		return 0;
	}

	return duplicate( path );
}

SceneInterfacePtr MayaScene::child( const Name &name, MissingBehaviour missingBehaviour )
{
	return retrieveChild( name, missingBehaviour );
}

ConstSceneInterfacePtr MayaScene::child( const Name &name, MissingBehaviour missingBehaviour ) const
{
	return retrieveChild( name, missingBehaviour );
}

SceneInterfacePtr MayaScene::createChild( const Name &name )
{
	return 0;
}

SceneInterfacePtr MayaScene::retrieveScene( const Path &path, MissingBehaviour missingBehaviour ) const
{
	tbb::mutex::scoped_lock l( s_mutex );

	if( path.size() == 0 )
	{
		MItDag it;
		MDagPath rootPath;
		it.getPath( rootPath );
		return duplicate( rootPath, true );
	}

	MString pathName;

	for( Path::const_iterator it=path.begin(); it != path.end(); ++it )
	{
		pathName += "|";
		pathName += std::string( *it ).c_str();
	}

	MSelectionList sel;
	MStatus st = sel.add( pathName );
	if( !st )
	{
		if( missingBehaviour == SceneInterface::ThrowIfMissing )
		{
			std::string pathName;
			for( size_t i = 0; i < path.size(); ++i )
			{
				pathName += std::string( path[i] ) + "/";
			}

			throw Exception( "MayaScene::retrieveScene: Couldn't find transform at specified path " + pathName );
		}
		return 0;
	}

	MDagPath dagPath;
	sel.getDagPath( 0, dagPath );

	if( dagPath.hasFn( MFn::kTransform ) )
	{
		return duplicate( dagPath );
	}
	else
	{
		if( missingBehaviour == SceneInterface::ThrowIfMissing )
		{
			std::string pathName;
			for( size_t i = 0; i < path.size(); ++i )
			{
				pathName += std::string( path[i] ) + "/";
			}

			throw Exception( "MayaScene::retrieveScene: Couldn't find transform at specified path " + pathName );
		}
		return 0;
	}

}

ConstSceneInterfacePtr MayaScene::scene( const Path &path, MissingBehaviour missingBehaviour ) const
{
	return retrieveScene( path, missingBehaviour );
}

SceneInterfacePtr MayaScene::scene( const Path &path, MissingBehaviour missingBehaviour )
{
	return retrieveScene( path, missingBehaviour );
}

void MayaScene::registerCustomObject( HasFn hasFn, ReadFn readFn )
{
	CustomReader r;
	r.m_has = hasFn;
	r.m_read = readFn;
	customObjectReaders().push_back(r);
}

void MayaScene::registerCustomAttribute( const Name &attrName, HasFn hasFn, ReadFn readFn )
{
	CustomReader r;
	r.m_has = hasFn;
	r.m_read = readFn;
	customAttributeReaders()[attrName] = r;
}

void MayaScene::registerCustomTag( const Name &tagName, HasFn hasFn )
{
	customTagReaders()[tagName] = hasFn;
}

std::vector< MayaScene::CustomReader > &MayaScene::customObjectReaders()
{
	static std::vector< MayaScene::CustomReader > readers;
	return readers;
}

std::map< SceneInterface::Name, MayaScene::CustomReader > &MayaScene::customAttributeReaders()
{
	static std::map< SceneInterface::Name, MayaScene::CustomReader > readers;
	return readers;
}

std::map< SceneInterface::Name, MayaScene::HasFn > &MayaScene::customTagReaders()
{
	static std::map< SceneInterface::Name, MayaScene::HasFn > readers;
	return readers;
}

redpajama_set_name: RedPajamaGithub


text:
METROPOLITAN EPIPHANIUS ATTENDS PRESENTATION OF BOOK BY HEAD OF UKRAINIAN GREEK-CATHOLIC CHURCH
2 Comments January 18, 2019 The Editors
At Orthodoxy in Dialogue we are thankful to God that the newly autocephalous Orthodox Church of Ukraine and the Ukrainian Greek-Catholic Church seek friendly relations and cooperation where appropriate. At the same time we dismiss the rumour that the OCU envisions entering into "double communion" with the Orthodox Church and Rome.
His Beatitude Epiphanius of the OCU (L) and His Beatitude Sviatoslav of the UGCC (R)
On the morning of January 17, 2019 in the Golden Gates Hall of the InterContinental Hotel there took place a presentation of the book Dialogue Heals Wounds, by the head of the Ukrainian Greek-Catholic Church (UGCC), His Beatitude Sviatoslav.
At the invitation of His Beatitude Sviatoslav, the primate of the Orthodox Church of Ukraine, Metropolitan Epiphanius, attended the presentation.
Leaders and moderators of the presentation were His Beatitude Vladyka Sviatoslav himself and Mr. Mykola Kniazhytsky, head of the Verkhovna Rada's Committee on Culture and Spirituality. [Verkhovna Rada = Ukraine's Parliament.]
In attendance at the presentation were President Petro Poroshenko of Ukraine, [several other government officials], Canadian ambassador to Ukraine Roman Washchuk, Polish ambassador to Ukraine Jan Pieklo, singer and composer Sviatoslav Vakarchuk, writers Oksana Zabuzhko and Ivan Malkovych, Ukrainian politicians, and other honoured guests.
In his greeting, His Beatitude Metropolitan Epiphanius underscored the importance of dialogue among Christians:
"We will begin the first steps of our cooperation, although before now we have also had cooperation. In the future we will also continue our dialogue and cooperation, for we Christians should do good together. We wish to begin a good and fruitful cooperation between the Orthodox and Ukrainian Greek-Catholic Churches, which existed earlier, but we wish to deepen it, so that we can work further together," the Primate noted.
That evening Metropolitan Epiphanius also announced the date of his enthronement—February 3—and invited the head of the UGCC to this event.
In his book-interview His Beatitude Sviatoslav fully and sincerely gives credit to the editor of the Polish Catholic News Agency, Krzysztof Tomasik, for hitherto unknown facts on the past and present state of the Eastern Catholic Church. He shares the story of his life from the moment of his vocation to his election as head of the UGCC. He talks about the possibilities which arise as a result of dialogue, and also about the good but sometimes painful relations with neighbouring countries. In this little book we also find His Beatitude Sviatoslav's testimony about St. John Paul II and the blessed memory of Liubomyr Huzar.
This brief report appeared earlier today in Ukrainian on the website of Єдина помісна Українська Православна Церква (One Local Ukrainian Orthodox Church). Translated for Orthodoxy in Dialogue by Giacomo Sanfilippo. SEE PHOTO ALBUM OF THIS EVENT AT THE SOURCE.
See Orthodoxy in Dialogue to Suspend Publication until Further Notice.
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When it comes to divorce, one of the most complicated issues for divorcing spouses to agree upon is establishing the terms of child custody and child support.
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2012 was undoubtedly the year when Mobile gambling took the industry by storm. It was as if news of mobile casinos, mobile optimized casino software and the possibility to win huge jackpots on the go finally reached the masses. A mobile gaming boom was born.
At the beginning of 2012 the number of UK online casino operators that offered mobile platforms was very slim but by the end of the same year there were almost 20 to choose from. The market is now saturated with mobile gaming options and players have cottoned on to the big fun and big winnings they can have at their fingertips thanks to mobile gaming technology.
As iPads and tablets have fast become must-have devices, gaming on the go has never been more prominent, or better! The larger screen a tablet allows for a top quality interactive gaming experience. With high-definition graphics, stereo sound quality and a sizable touchscreen that allows you to tap and swipe your way to winnings, it's no wonder casino gaming on the go from a tablet is now THE way to play.
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Christmas 2012 was hailed as "tablet Christmas" due to the huge rise in sales of Apple's iPads and iPad Minis. The demand for these products hit an all-time high over the festive period with some UK online retailers reported to have sold one tablet every second during peak selling hours. Google's Nexus 7 has also enjoyed big popularity in the tablet market due to its competitive price tag and Android operating system, which no doubt appeals to Android mobile users.
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Casey Martin has had great success as a professional golfer, winning the Nike Tour and playing well in the US Open.
Casey Martin became a member of the BUY.COM TOUR in 1998-99. He earned his first BUY.COM TOUR win at the 1998 season-opening Lakeland Classic and finished at 19-under par (269) to win at Lakeland by one stroke over Steve Lamontagne. He finished 16-under par to finish T4 at the 1998 Ozarks Open and was a second-team All-American in 1994 at Stanford.
In 1995, Casey was named Academic All-American. He is a member of Stanford's 1994 NCAA Championship team, and was a college teammate of current PGA TOUR members Tiger Woods and Notah Begay III. He has four competitive aces, including two in back-to-back rounds in the 1994 Oregon Open.


text:
Filmmakers from around the industry talk about saving our shared cultural history in the new PBS documentary, These Amazing Shadows
Casablanca (1942) Courtesy of Warner Bros. / Photofest
These Amazing Shadows is an 88-minute non-fiction film that artfully tells the story of the Washington- D.C.-based, The National Film Registry, which has been tasked by the federal government with the mission of preserving worthy fiction and non-fiction films for posterity. The documentary blends comments made by a diverse range of 65 people with clips from movies they recommended for preservation.
Highlights include the venerable actor George Takei (Star Trek, General Hospital), who is of Japanese descent, sharing his memories of Topaz, a home movie that takes audiences back to a time when the U.S. government, preparing for an anticipated attack on the West Coast in the wake of the bombing of Pearl Harbor, unlawfully took some 120,000 Japanese-American citizens from their homes and jobs and sent to them internment camps. Takei was four years old when his family was taken from its home in Los Angeles to an internment camp in Arkansas. He recommended Topaz to the Registry.
"I want my daughter to see that film," Takei states in These Amazing Shadows.
In 1972, Allen Daviau, ASC was in the dawn of his career when he saw one of the most iconic American movies of all the time, the 3-time Oscar®-winner, The Godfather
In this powerful documentary, Daviau gazes directly into the eyes of the audience as he speaks about how the imagery created by Gordon Willis, ASC, who shot The Godfather, touched him on an emotional level and forever cemented his storied career yet to come.
George Takei / Photo Courtesy of ITVS
Other voices weaved throughout These Amazing Stories include James Billington, who is head of the Library of Congress, Jan-Christopher Horak, head of the UCLA Film Archives, documentary producer Barbara Kopple, Gale Ann Hurd, Christopher Nolan, Rob Reiner, Debbie Reynolds, John Waters, Leonard Maltin, and cinematographer Caleb Deschanel, ASC.
"We began by researching the origins and background of the National Film Registry and the National Film Preservation Board," recalls Paul Mariano, who conceived, co-produced and co-directed the film. "We interviewed [National Film Registry chief] Steve Leggett, and other archivists on the Packard campus in Washington, D.C. That armed us with important insights about what they did, the passion they felt and why preserving yesterday and today's films for tomorrow's audiences is important."
Many film fans may not know that The National Film Registry is actually a part of the Library of Congress. It was founded in 1989 under the auspices of the National Film Preservation Act, passed by Congress the previous year. The mission delegated to the Registry is to restore and archive films based on recommendations made by narrative and documentary filmmakers, critics and fans.
The Registry restores and archives 25 films annually, all of which must be at least 10 years old to be eligible. Content varies from a 1893 black and white short of a blacksmith at work to Thriller, the first Michael Jackson music video to air on MTV, to the infamous Zapruder home movie, documenting the assassination of President John F. Kennedy, as well as many more non-fiction and narrative movies.
Blazing Saddles (1974) © Warner Bros. / Courtesy of Warner Bros. / Photofest
During their meeting with Leggett, who is also the coordinator for the National Film Preservation Board at the Library of Congress, Mariano and co-producer/director Kurt Norton were given the names of individuals who had recommended films already restored. "The list included a lot of actors, actresses, directors and producers, as well as archivists, critics and fans," Mariano says. "There were only a few cinematographers who were available when we were doing interviews, and we were fortunate to be able to include Allen Daviau and Caleb Deschanel."
Mariano is a criminal defense attorney by trade, who has served in a Northern California public defenders office for 27 years. Norton is a private investigator who has specialized in death penalty cases, frequently in collaboration with Mariano. The pair's only other credit is Also Ran, a 2006 behind-the-scenes documentary about the special election that recalled Governor Gray Davis from office in the wake of the California energy crisis.
"I told Kurt that I read an article about the National Film Registry and the films selected that year," Mariano continues. "In our initial research, we were both stunned by the statistics about films that were part of our culture that have been lost forever. Approximately half made in the United States prior to 1950 no longer exist, and as many as 90 percent of all American silent films have been lost forever. For us, those losses seemed unimaginable."
When Mariano and Norton contacted Leggett about the idea they had for producing a documentary, he was, as Mariano notes, "extremely positive from day one, and incredibly helpful from the beginning through the completion of our production."
Rob Reiner / Photo Courtesy of ITVS
They brought in veteran documentary cinematographer Frazer Bradshaw to the project in HD. "We have the utmost respect for Frazer, and trusted his skill and judgment," Mariano recalls of the partnership. "That included choosing the right angles and composition for augmenting words being spoken by the people we were interviewing. We wanted a cinematic look and asked Frazer to record interviews from an off-axis angle, augmented with dramatic lighting that looks and feels right for the individual and subject. He did a magnificent job."
Leggett introduced Mariano and Norton to John Ptak, Bob Rosen, Betsy McLane, Del Riesman and other members of the National Film Preservation Board.
"Those interviews led to introductions to actors, directors and other filmmakers, including Rob Reiner, John Singleton and Amy Heckling," Mariano explains. "The interview process continued with Ken and I persistently asking people who we believed could shed light on this important issue to share their thoughts and feelings."
The filmmaking trio often travelled to their subject's home and place of work to conduct an interview. They suggested topics they wanted to explore, but they encouraged everyone to talk about films and other areas they felt passionate about.
Mariano, who completed nearly 120 hours worth of interviews for These Amazing Shadows, describes it as a process of discovery.
"Did you know that approximately half of the scripts for silent movies produced in the United States were written by women?" he says. "We also discovered many female directors back then. We were able to get a clip of a 1916 film titled Where Are My Children? that dealt with abortion and birth control. It was produced and directed by Lois Weber. Of course things changed after that, and Dorothy Arzner was the only female director working in Hollywood by 1930, and she dressed like one of the guys!"
West Side Story (1961) © United Artists / Courtesy of United Artists / Photofest
In the film, John Waters reminisces about It's a Wonderful Life, while Rob Reiner shares his personal memories of watching Judy Garland in The Wizard of Oz. "I cried when I saw a restored print," Reiner admits. "The films [in the Registry] are a window on what was happening in cinema and the world at different times in history."
Editor Kevin Yost talks about being mesmerized by George Lucas's landmark sci-fi crowd pleaser, Star Wars as well as the 1940 animated film Fantasia.
"I don't know how they made an animated movie look so real," he says. "Walt Disney said that for every laugh there should be a tear. It evoked those feelings."
Rosen, who established the UCLA Film Archives while he was teaching students at the university, says that what struck him most was the diversity of films in the Registry. "They range from 8 mm home movies to classic films," the former UCLA Dean notes. "Five hundred years from now, people will look back and say this was the beginning of an important new art form. Why didn't those people take better care of their films?"
"These Amazing Shadows is an amazing depiction of the work being done by the Registry," observes preservationist Milt Shefter, who researched and co-authored The Digital Dilemma I and upcoming Digital Dilemma II reports about the status of archiving American feature films and documentaries for the Motion Picture Academy of Arts and Sciences and Library of Congress. "I encourage every ICG member to check out what films are in the Registry archives and recommend other worthy films, so they are there for your children and grandchildren."
John Waters / Photo Courtesy of ITVS
These Amazing Shadows, which was co-written by Mariano, Norton and Douglas Blush, premiered at the 2011 Sundance Film Festival, has subsequently been featured at festivals in Boulder, Cleveland, Ashland, Tiburon, Hawaii, River Run, Newport Beach, Seattle, Stony Brook and Indianapolis. There have also been screenings for the public at theaters around the country.
One prominent media critic described a "eureka moment" when he discovered that there were two versions of the classic (1935) film Baby Face, starring Barbra Stanwyck. "The shorter one was minus censored footage," he says, "because they were afraid of how the sexual content would have affected audiences."
About his long and fruitful journey with the project, Mariano concludes:
"I have learned that filmmaking is truly the art form of the 20th and 21st centuries. Film tells us so much about our culture and history. Losing a film is like losing part of ourselves. Preserving films saves both our memories and cultural heritage. The incredibly dedicated people who have a passion for saving yesterday's and today's films for future generations deserve our unending gratitude."
These Amazing Shadows airs on PBS stations at 10 p.m. on December 29th as part of the Independent Lens series. PBS is also distributing the documentary in DVD format.
By Bob Fisher
Clint Eastwood – J. Edgar
Remembering Billy


Late Afrobeat Legend, Fela Kuti, has received a posthumous recognition from the United States Congress.
The recognition was presented by United States Congresswoman Sheila Jackson Lee of the 18th Congressional District of Texas, U.S.A.
A copy of the recognition.
Fela Kuti's son, Seun Kuti (right), and founder of Nigerians Saving Nigerians, Omololu Omotosho (left), in Lagos state, Nigeria.


UI Map allows you to build a layer of indirection between your automation script (MScript or java code) and the UI control on AUT. By defining this mapping, you can reference UI controls by the assigned uiid in MScript and TestOptimal will resolve to the actual control locator you have defined in this mapping list. This layer of indirection allows you adapt to changes to UI controls easily without changing the automation script (MScript).
UI Map also shows images of UI controls that can be used with Sikuli plugin to identify and interact with the UI.
UI Map can be stored in a csv file, Excel spreadsheet, url or sql database. You simply define the UI Map URI in Model Property using one of the formats defined in Read From File, Excel, Java, URL.
Besides specifying UIMap in external text file, you can also import UI Pages from UI Repository (UIRepo).
You may use different names for these columns or order these columns in different order in the file. But if you do, you must position these columns to match the order specified in the expected order.
If you have built UI Pages in UIRepo, you may import UI Pages into UIMap for the current model. To do so, click on UI Page link on the upper-right corner of the tab and select UI Page you wish to import.
All UI Elements for the selected UI Page are automatically imported into UIMap. If you wish to remove some UI Elements, you may do so by clicking on "x" next to the UI Element.
Only UI Pages/Elements imported from UIRepo may be removed. UI Elements from UIMap file can only be removed by editing UIMap file.
You may access UIRepo by clicking on the link UIRepo on the header line.
If you have changed UI Pages that you have imported to the model, you may apply the updates to the current model by re-importing those UI Pages. However if you have removed some UI Elements before, you will need to remove them again after the re-import.
In MScript editor, you can bring up the list of UI Map items with Ctrl-U. You will then use this uiid to replace the normal locator for the element. If uiid is not unique, you can use application and window qualifier with the syntax of app/win/uiid. For example map=app1/loginWin/userID.
You may only use uiid if it is unique in the UI Map list. For example if userID is unique, you can use map=userID or map=loginWin/userID instead of the full path as shown in the example above.
UI Images are used by Sikuli plugin to identify UI controls. They are stored in /uimap/ subfolder within the model folder.
You can delete the image file by mouse over the image file name and click on x.


: If you're migrating documents from Microsoft Word to OpenOffice.org on Linux, don't make the leap without considering the options, pitfalls and tools available.
Is your organization in the process of migrating from Microsoft Word to OpenOffice.org on Linux? If so, your biggest obstacle may not be getting used to the new suite, but rather moving from Microsoft's proprietary .doc format to OpenOffice's Open Document Format (ODF).
Granted, the .doc format has been reverse-engineered in sufficient detail that many users can work with it as is. But if you're making the leap from Microsoft Office, it makes sense to jettison as many of its legacies as you can.
This article covers the issues involved in converting from Word to ODF: The converting options available to you, the potential pitfalls and the third-party tools that make conversion easier.
There are two basic approaches to dealing with converting Word documents to ODF: (1) convert at once and (2) convert as you go. The convert-at-once method involves taking all extant Word documents and converting them en masse into their ODF counterparts. It's useful if you don't have a large number of documents that need to be converted and if it's unlikely that they contain items that may not convert correctly, such as macros or complex formulas. The convert-as-you-go method involves transforming each Word document to ODF as needed; files are left in Word and only converted to ODF format once they're needed.
Each method has distinct advantages. Convert at once separates the task and the burden of conversion from those working with the documents, so users don't have to contend with the conversion process. But the approach can place an unrealistic burden on users if they aren't trained to recognize that a given document has been converted incorrectly or is missing data. Since each document has to be handled independently in the covert-as-you-go method, it's a slower approach. But it better ensures that each document has survived the conversion process intact.
In either case, it's critical to keep copies of the original, unchanged documents so that they can be referenced if need be.
As I mentioned previously, the .doc format has been sufficiently reverse-engineered such that many non-Microsoft programs (including OpenOffice.org, or OO.o) can open .doc formats and work with them natively. That said, the format also includes a few native Word features that users may have trouble translating correctly, so using the following features requires extra caution.
The other potential stumbling block is Word's equation editor, which OO.o will make a best effort to convert to its native format. If the formula in a particular document doesn't translate correctly, you can insist that OO.o preserve the original formula formatting. To do so, in OO.o Writer, select Tools, then Options, then Load/Save, choose Microsoft Office, and uncheck the Load and Save boxes next to MathType to OpenOffice.org Math and OpenOffice.org Math to MathType.
There are several ways to perform the migration process. The most basic is simply to open Word documents in OpenOffice.org, then resave them as ODF in a new location. If you have a small number of documents or if users are comfortable performing the conversion work on their own, this may be the best place to start.
It's also possible to automate the conversion process using OpenOffice.org itself and OO.o's own macro language. The XML.com site offers a simple script to convert a single file at a time without user interaction and can be further automated using a batch or shell script. It works cross-platform in both the Windows and Linux versions of the product.
You can also use third-party utilities. The document transformation company 3bView offers 3BOpenDoc, which transparently converts documents to and from ODF. The product works with an existing mail server or CMS: When emailed or opened through a document-management product, Word documents convert to and from ODF automatically. The company also provides the same functionality in a more standard bulk converter application so you can use that to manually convert many documents at once. You can also get an online trial of the product: Submit a Word document of less than 500 KB, and test how the software performs the transformation.
About the author: Serdar Yegulalp wrote for Windows Magazine from 1994 through 2001, covering a wide range of technology topics. He now plies his expertise in Windows NT, Windows 2000 and Windows XP as publisher of The Windows 2000 Power Users Newsletter and writes technology columns for TechTarget.


text:
Music Theory Meets Rock Circus as Academics Gather at University
Rupert Till
School of Music, Humanities and Media
Department of Music and Drama
Press/Media: Public Engagement Activities
It's one of the newest and most futuristic campus facilities in Yorkshire, but the £28m Oastler Building, opened last year at Huddersfield University by the Duke of York, is hardly Wembley Arena. So the three-day music festival which opens there on Monday will be a low-key affair, as these things go.
However, with a programme that encompasses hip hop, heavy metal, punk and other genres, it will bear little resemblance to an academic conference, either.
https://www.yorkshirepost.co.uk/news/music-theory-meets-rock-circus-as-academics-gather-at-university-1-9327154
Crosstown Traffic
University of Huddersfield, Huddersfield, United Kingdom
https://www.iaspm.org.uk/crosstown-traffic-popular-music-theory-and-practice/


text:
BFI London Film Festival 2019/Film Festivals/Film Reviews
BFI London Film Festival 2019 – Programme Launched
The full programme for this years 63rd BFI London Film Festival has landed. Bringing the best new films to London from 2nd – 13th October 2019. This years programme once again mixing a diversity of film with documentaries, talks and workshops.
Headline Galas at this years festival include, The Personal History of David Copperfield from director Armando Iannucci; The Irishman from Director Martin Scorsese; JoJo Rabbit from Director Taika Waitit; Knives Out from Director Rian Johnson; Hope Gap from Director William Nicholson and the The King from Director David Michôd. While this years official competition includes Alma Har'el's Honey Boy; Haifaa Al-Mansour's The Perfect Candidate and Christine Molloy's Rose Plays Julie.
With a wider festival programme of 229 feature films, documentaries and short films, LFF has once again brought the amazing diversity of global filmmaking to the heart of London.
As usual films are split into strands, each with its own Gala presentation, which this year include; Jill Culton and Todd Wilderman's Abominable; Juliano Dornelles' Cannes award winner Bacurau; Robert Eggers The Lighthouse; Michael Schwartz and Tyler Nilson's The Peanut Butter Falcon and Fernando Meirelles The Two Popes.
While special presentations include Céline Sciamma's Portrait of a Lady on Fire; Feras Fayyad's documentary The Cave (Syria) and Cory Finley's Bad Education.
Tickets information can be found here, and if you are 25 or under find out more here.
Full programme information can be found here
Cinerama Film Online coverage of this years London Film Festival starts on the 16th September, so don't miss all the latest right here.
You can also join our festival discussions on social media by following us at @Cineramafilm on Facebook and Twitter.
Short List of Films for Iris Prize: Best British Shorts Unveiled
Tinna Hrafnsdóttir's Quake to premiere at Tallinn Black Nights Film Festival
Crawl Review – Taking a bite out of human superiority
Bait Review – Tradition meets modernity on the Cornish Coast


When putting together an architecture website, there are a few things you need to pay attention to. For instance, an eye-catching layout is a must. But, it shouldn't get in the way of the designs being featured. So, a portfolio layout is helpful with plenty of whitespace, too. Creating this look from scratch can be daunting, so WordPress themes for architects are a solid choice.
Before we get to our featured themes list, let's first talk a bit about the theme selection process and what you should be looking for.
An architect requires a little extra in terms of a WordPress theme. They need themes that show creativity, while also displaying professionalism. Contact pages and portfolio sections are essential, and the functionality for sharing drafts and designs is a must. Since architects are tasked with building their own small businesses, and primarily running them on their own. WordPress themes are marvelous ways to cut the costs while still maintaining a beautiful presence online.
However, not all WordPress themes are created the same, since some of them are thrown together to look professional, but they don't have the power that an architect deserves. For example, one theme may look great for showing off photos, but not all of them keep your high-resolution images proportionate once you buy the theme and upload the photos. This is a problem, so it's time to take a look at the best options currently available. Keep reading to see a collection of themes that have the design elements and tools for running your architecture business effectively.
Architekt is a stylish business WordPress theme suitable for architects and interior design studios.
It can be easily adapted for an interior design company, consultancy agency or even a web design studio. Architekt is very versatile and full of features template. You can change colors, backgrounds and much more directly from the WordPress admin, in a matter of clicks.
Starting off the list of our favorites is the Apex Construction WordPress theme, which is a beautiful and responsive theme for any architect or construction company. The theme has a unique function to help you organize your past work with a Property post type. This is similar to a portfolio, except it focuses primarily on companies that work with properties. What's cool is that you can showcase the properties with maps, videos and even a brochure.
The homepage is pretty stunning, and you can modify the layout with a simple drag-and-drop editor. This means that you never have to touch the code to make your site look professional. The widgets are truly what make this theme great since you can implement areas to show off your authors, contact details, and more. Generate a Contact Us page for your clients, and let your visitors subscribe to a newsletter right on the homepage. You can also share testimonials from past clients and include a property slider of your latest work.
The Construction-WP WordPress theme is tailor-made for construction and architecture businesses considering it comes with various header and homepage examples to get you started in the right direction. The one-click demo importer is ideal for those who don't want to begin the design process from scratch and the free visual page builder makes it easy to customize the layout without having to know the code.
Show off your latest work with the Slider Revolution plugin which is included for free when you purchase the theme. The theme is completely responsive so you can rest assured your work will look great even on mobile devices. It's also worth mentioning that the theme options panel includes over 600 Google Fonts and advanced theme options. The theme is also translation-ready.
The Skywalker theme is completely responsive and looks great on any device. It provides a huge main page slider for showcasing some of your best buildings or other projects. The built-in shortcodes ensure that you don't have to mess with any coding and the social media support helps you grow your social media followers.
The theme includes Google Maps integration to display the physical location and directions to your office. Along with a Flickr gallery and an AJAX contact form, you can't go wrong with using the Skywalker WordPress theme for your architecture business.
Matty is a powerful and easy-to-use theme with a full-screen image header for high-resolution photos. The main page has plenty of space to include all the relevant information while the elegant menu makes it easy to navigate your website. You can even sell your own products thanks to the integration with WooCommerce. Demo content is included with your purchase to speed up the setup process and the responsive layout ensures everyone can access your website on mobile devices.
Matty includes Visual Composer plugin which lets you drag and drop elements instead of coding them yourself. Feature your latest projects and use the grid-based gallery area for showcasing your portfolio. Use the counters to display how many past customers you have had or how many projects you have worked on. The testimonial module is ideal building social proof and the Clients page allows you to show which clients you've worked with previously.
The Photonote theme is primarily built for photographers, but don't let that scare you away, because this gem is a true powerhouse in the media realm. It includes a touch-enabled slideshow which allows potential clients to scroll through pictures of your projects, and Visual Composer is included so you can easily modify the layout. Quickly embed YouTube and Vimeo videos for video testimonials, showcases or even commercials.
The grid-based portfolio area has everything an architect needs for presenting past work and you can even implement several widgets throughout your site to share recent posts, social media buttons, and more. Keep in mind that blogging is a key part of gaining exposure for your architecture business and this theme has all the blogging tools you need.
If you're looking for a theme that grabs the user attention, Uberto is the one to go with since it provides a stunning header with overlaying buttons that allow you to direct people to visit your sales page. Multiple color schemes allow you to choose the one that best matches your brand and custom widgets allow you to add social media buttons, Flickr galleries, and more.
The About Me widget is a great way to introduce yourself to potential clients. Uberto is a perfect theme for anyone that wants a clean and simple design that puts the content into main focus.
The Reales theme is built for real estate companies, but this is actually where it has an advantage for architects. Since most of the features cater to people who are working with properties, architects can use those exact same tools to share past work and even display current projects that they are working on. The theme has a modern and responsive design which is an essential feature in today's day and age. It comes with Google Maps integration which allows you to easily show directions to your office.
The front end property submission tool is an interesting way for architects to accept suggestions from workers or clients and the advanced properties filter is the ideal way to display a solid portfolio of your architectural work. The theme also includes shortcodes for adding elements like testimonials, columns, featured team members, properties, services, and more. People can log in with Facebook and Google on the frontend and they can even add property favorites to their profiles.
The Megalith theme stands out from other architecture themes since it provides free access to premium plugins like Slider Revolution and Visual Composer. The one-click data importer allows you to easily import your content into your website and responsive design ensures your website will look great on any device. You can choose between a full-width layout or a boxed layout, depending on what you want your website to look like.
Add a description of your company, display your services, and showcase a portfolio of your past works. The wide header has overlaying text and buttons for the ideal call to action towards your contact page. There is even a Request a Quote button to put potential clients in touch with you in seconds. Along with a testimonials area and a place to show off your past clients, the Megalith theme is a nice option for any architect.
The Factum theme provides all the functionality and style that most architects need to show off their work and connect with clients. The theme is particularly designed for lawyers and law firms, but it works just as well for architects and their own companies. Factum offers a beautiful, yet professional, header area to include a photo and a brief description followed by a button that can be used as a call to action that encourages people to contact you or to check out your portfolio. You can highlight biographies for all the people in your company and display different services you offer. You can also highlight your past clients by including their logos on the homepage.
The homepage has several content modules, each of which is easy to play around with and modify. The testimonial module is a great way to build social proof and share testimonials from past clients. Another notable feature is the contact area which has a sleek contact form that includes a Google Map so potential clients can easily get in touch with you or even find your office. Finally, a full blog is included with the Factum theme, which allows you to share industry news with your audience and boost your search engine rank at the same time.
The Vanilla WordPress theme offers a super clean design if you'd like to place most of the focus on your content and minimize the distractions. This is a mobile-ready theme which ensures your website will look great even on smaller devices such as tablets and phones. Vanilla includes localization support which is an essential feature if you plan on reaching an international audience. Several social media buttons help you grow your social media following. The shortcodes mean that you can create anything from pricing tables to buttons, without knowing or implementing any code.
The rather large header area is a great place to include a call to action and the filterable portfolio works wonders for letting potential clients find relevant work. Featured posts from your blog can be featured in thumbnail version on your homepage and the footer has plenty of space to include several widgets for recent posts, Flickr, and a tag cloud. Along with several page layouts and templates, a search bar, and a contact page for people to get in touch with you, the Vanilla theme is certainly a theme to keep your eye on.
Megalithe comes from the folks at ZigZagPress, so you know it's going to be a clean and modern take on an architecture design. The beautiful portfolio layout has a responsive design. Additionally, the Megalithe theme has localization tools needed to translate your website. Social media buttons match the theme perfectly and allow you to connect with your audience on Facebook, Twitter, and more. Add call-to-action and buttons with shortcodes which means you don't have to touch a single line of code. The slider allows you to display high-resolution photos of your projects and you can include a text overlay for a brief description of the project or even your company. The portfolio has a filtering function so potential clients can easily find projects that are similar to their needs. Highlight your services with text boxes and icons and share your recent blog posts in a widget on the homepage.
The blog looks great and it allows you to share content with your audience, boost your SEO, and establish yourself as the expert in your field. Choose from seven predefined color skins to incorporate your own branding and include additional content in the footer with different widgets. Use the Flickr widget to share photos of their past work or include contact information or recent post lists. The contact page is easy to customize and the portfolio has settings for a wide range of row counts. Simply put, Megalithe has all the tools you need to create a stunning online presence.
The AgentPress WordPress theme comes from StudioPress which means it's a child theme for the Genesis Framework. This solid framework is known for its reliability and customization options, along with the ability to change child themes without losing any content. The theme is mainly for real estate agents, but can be used for a different niche as well. The responsive layout looks great no matter the screen size and it has beautiful theme options on the backend which allow you to easily customize the theme to your needs. The AgentPress Listings plugin incorporates some interesting features for agents considering you can manage your own listings and create custom taxonomies for the ultimate organization. The theme customizer allows you to modify fonts and color with ease.
The AgentPress theme includes six widget areas, and each of them supports widgets such as the email signup form, social media links, recent posts, and more. The header supports text-based and image logos. Adjust the custom background and use the custom menus to make it easy to navigate your website. Use the theme to create a portfolio of your past work or include projects you are currently working on. Overall, the theme has quality support for photos and allows you to create an elegant online presence.
Solus is yet another property showcase theme and this one has an interesting angle considering it's meant to focus on an individual property. Demo content is included with the theme allowing you to launch your site quickly. It even includes interesting stock photos and icons that you can use to add extra visual appeal to your website. The theme has responsive and retina ready design which means it will look great not only on mobile devices but on high-resolution screens as well. Your website colors can easily be customized with the color picker and the translation options are essential for reaching out to an international audience. The theme includes several other unique visual aspects. The entire header takes up the majority of the screen allowing you to add a stunning high-resolution image and you can even incorporate buttons and a text overlay as a call to action.
The header also functions as a slider for showcasing a wide range of properties or past projects. Columns and icons allow you to organize and highlight your content. Display information about the interior and exterior of a home or simply present your services. Use one of the sections to embed a map of your physical location. Social media buttons are included with the theme eliminating the need to install a third-party plugin. Along with a clean design, simple tools for connecting with clients, and a fast-loading template, the Solus WordPress theme is an impressive choice.
Legalized has its main focus set on the law industry, but that doesn't mean you can't use it for an architecture business. The theme has plenty of features and customization options as well as an easy to use homepage builder that make it possible to adapt the theme to any industry. The theme comes packed with several page templates and it includes unlimited colors and a shortcode generator for easy designing.
Google Maps integrates perfectly with the theme and a Contact Form makes it easy for potential clients to contact you.
The Photex WordPress theme is a stunning theme that lets your past project take center stage. The theme is completely responsive for people who are trying to view your content on the go, while the entire homepage is covered with thumbnail images of your past work. When someone scrolls over a certain thumbnail, fun animations show a brief description while clicking on the image takes the visitor to a detailed description of that particular project. Users can like certain items to show the most popular ones and they can even view even more of your work thanks to the related projects list at the bottom of each post. You can also include social media buttons for potential clients to share your images on social media. Turn your website into an online store and sell your products with ease thanks to the integration with WooCommerce plugin.
The animated contact form is a great way for potential clients to get in touch with you or request a quote for their project. The navigation bar is hidden to the left and it shows up only when someone clicks on it, freeing up space for other content. You can also translate your entire website to expand your reach. Implement a Google Maps module on your contact form, and use the shortcode generator to cut down on your design time. Along with custom widgets and Photoshop files, the design options are endless with Photex.