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While supporting ASEAN on South China Sea, US challenges China's predatory world view
Reaffirming its strong commitment to its ASEAN partners and key allies Japan and Australia, the United States has reversed its perceived "isolationist" policy by calling China's claims to off-shore resources in South China Sea (SCS) unlawful and championing a "free and open Indo-Pacific".
US Secretary of State Mike Pompeo's statement on "US Position on Maritime Claims in South China Sea" comes at a time when two US nuclear powered aircraft carriers – Nimitz and Ronald Reagan – with 120 fighters are exercising in South China Sea. The two super carriers are openly challenging the unproven might of the People's Liberation Army Navy by exercising near Paracel Islands off the Vietnam coast and north of Chinese nuclear submarine base at Hainan Islands.
The top US diplomat's statement is not only a demonstration of enormous political will of US to stand by its allies in Indo-Pacific region but also reinforcement of SCS frontline.
The US statement that Chinese Premier Xi Jinping's predatory world view has no place in 21st century comes after Prime Minister Narendra Modi's speech on July 3 in Ladakh where he made it clear that there was no space for expansionist regimes and future only belonged to those who believed in development. The Indian position of free and open South China Sea also synergises with US Secretary Pompeo's statement on Indo-Pacific.
Pune lockdown begins from today
As Pune goes into a two-phase, 10-day lockdown from Monday midnight till Thursday, July 23, officials have said the first five days, from July 14 to July 18, will be very strict. The comprehensive lockdown is yet another attempt to break the chain of the coronavirus infections.
Many of the earlier relaxations have been withdrawn in the city and further new curbs have been put in place in an order signed by Vikram Kumar, Pune Municipal Corporation's new commissioner.
Public transport and private bus services, trucks, tractors and all goods vehicles will not be permitted, barring those providing essential services. This includes the Pune Municipal Corporation (PMC), police and medical services.
Grocery shops, retail and wholesale shops will remain closed for the first five days, in phase one of the lockdown while in phase two, from July 19-23. only shops and wholesalers selling essential items will be allowed to remain open between 8am and 12pm. Online food delivery portals will not be permitted to operate till July 23 and wholesale and retail grocery, vegetable and fruit markets and loading areas will remain completely closed from July 14-18; and from July 19-23 will remain operational between 8am and 12pm.
Over 9 lakh Covid-19 cases in India
Meanwhile, India's COVID-19 case tally crossed the 9 lakh mark with 28,498 new cases and 553 deaths reported in the last 24 hours. The total number of confirmed cases stand at 9,06,752 including 3,11,565 active cases, 5,71,460 cured/discharged/migrated and 23,727 deaths, according to the latest update from the Union Ministry of Health and Family Welfare.


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PRINCE CHARLES OPENS GARDEN OF REMEMBRANCE AT PSNI HQ
PRINCE Charles has opened a garden of remembrance for police officers killed on duty in Northern Ireland.
Relatives of those killed or injured on duty attended the ceremony at PSNI headquarters in east Belfast.
The Prince and the Duchess of Cornwall laid a wreath in honour of the dead and held brief talks with NI Chief Constable George Hamilton.
They are on a two-day visit to NI and the Republic of Ireland.
The garden pays tribute to the 13 officers who have died since the PSNI was founded in 2001; their names are recorded in a book of remembrance.
The new garden adjoins a memorial garden to the 300 officers from the PSNI's predecessor, the Royal Ulster Constabulary, who were killed during the Troubles.
Speaking at the opening ceremony on Wednesday, Mr Hamilton said it was a very special, but also sad, day for the families and the police service as they remembered those who had died.
"This is a fitting tribute to our colleagues who have died in the course of their service and will ensure that their dedication to duty and sacrifice is never forgotten," he said.
"The visit was also an opportunity for HRH Prince of Wales and HRH Duchess of Cornwall to meet personally with the family members of those who had died and lay a wreath and flowers in their memory."
The Duchess of Cornwall was presented with a posy of flowers by seven-year-old Victoria Grieves whose father Constable Gary Grieves died in a road traffic collision as he was travelling home from duty in August 2010.

redpajama_set_name: RedPajamaCommonCrawl


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Knowledge Base Submit a request Sign in
SimLeague Hockey
How does the Waiver Wire work? How frequently are players added?
The Waiver Wire shows players that are available to be claimed. You may claim a player if you don't already have that player on your roster (the same player from the same year cannot be on your roster twice) and you have enough available player units to be able to claim the player.
You are required to maintain a minimum roster size of 25 players (23 skaters and 2 goalies), but have no more than 35 players on your roster (this includes your minor league players). So if you are at the roster maximum, you must release an existing player to claim the new one. The player units freed up by releasing a player combined with any available player units you had after your draft equals your acquiring power - the maximum units you can spend to claim a player on waivers.
Players are claimed and released constantly as the same Waiver Wire is used by all leagues. So, if you release Brett Hull, he may be picked up by someone else in another league or by someone in your league and vice versa.
If you have more than the minimum of 25 players, you can release a player to free up some player units -- making your acquiring power greater.
Limitations: You must pay a 10% transaction fee for each player that you claim. For example, if you want to claim a 1 million unit player, you'll need to give up 1.1 million units. All Waiver Wire transactions must be completed by the transaction deadline - you will not be able to waive or claim players after that time.
Waiver Wire Unit Values (Full Season Leagues): You may notice that a player is priced differently on the Waiver Wire than he is in the Draft Center. This is because players on the Waiver Wire receive unit value reductions as they spend more time on the wire without being claimed. The Waiver Wire updates twice a day. With each update, all players on the wire receive a 2% unit deduction. So for each full day a player spends on the wire, his units are reduced by a total of 4%.
Target Numbers: The Waiver Wire updates twice a day. During each update, it makes sure it has exactly 25 centers, 25 left wingers, 25 right wingers, 50 defensemen, and 25 goalies. If there are more than the target number of players at any position, the players who have been on the wire longest will be cut until the target number is reached for that position.
What are defensive pairs? Who should play on a particular pair?
Do trades have to be even (1-for-1 or 2-for-2)?
How are recruits distributed each season to make recruiting competitive and fun?
What is a player's "defensive rating" and how is it calculated?


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Пётр Шафранов:
 Шафранов, Пётр Григорьевич (1901—1972) — советский военачальник, Герой Советского Союза.
 Шафранов, Пётр Александрович (1859—?) — русский историк, заведующий архивом министерства земледелия и государственных имуществ.
 Примечания

redpajama_set_name: RedPajamaWikipedia


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Farewell 2011, hello 2012!
And so another year passes. We hope you have all had a happy, healthy holiday season and here's to a prosperous 2012! As ever, thanks to everyone who has supported and worked with 1000 Words during this past year. Here are some of our organisation's highlights:
-the appointment of a board of directors who play an active role in the direction of the organisation. They are Camilla Gore, Nicholas Barker, Simon Baker, Aron Morel, Louise Clements, Tim Clark, Michael Grieve and Norman Clark
-the announcement that our sister-site, the 1000 Words blog, was named as the winner of Arts Media Contacts' Photography Blog of The Year Award
-two 1000 Words Workshops with Anders Petersen and Erik Kessels that took place in the beautifully evocative medina of Fez, Morocco
-1000 Words editors, Tim Clark and Michael Grieve's participation in a panel discussion on "galleries" for photography with Linda Berlin and Toni Cederteg, Library Man; and Kristin Bråten, Director, Gallery Riis in association with Objectiv in Oslo, Norway
-curation of a slideshow featuring Anna Linderstram, JH Engström and Viviane Sassen at Łódź International Festival of Photography, Poland
-three issues of 1000 Words Photography Magazine, based around themes of Aporia, Hidden and Thereness, released in February, May and October respectively
-sponsoring The Salon Photo Prize 2011, in which thirty-five early-career photographers were exhibited at Matt Roberts Arts on Vyner Street, East London with one exhibitor, EJ Major, winning the selectors' prize supported by 1000 Words consisting of £1000 and a subsequent solo exhibition
-Tim Clark, Editor in Chief at 1000 Words, joining the Academy of Nominators for the Deutsche Börse Photography Prize and also co-judging FreshFacedandWildEyed2011, the fourth annual competition for recent graduates organised by The Photographers' Gallery, alongside Edmund Clark, Photographer; Louise Clements, Artistic Director, QUAD and Format International Photography Festival; and Brett Rogers, Director, The Photographers' Gallery
The Trouble with Art Criticism
1000 WORDS WORKSHOP WITH ROGER BALLEN IN MOROCCO, MAY 2012
*26.03.12 THERE ARE STILL TWO PLACES AVAILABLE-APPLY NOW!*
1000 Words is delighted to announce its fourth workshop. Following successes with Antoine d'Agata, Anders Petersen and Erik Kessels we are proud to present Roger Ballen as the workshop leader for the next retreat in Fez, Morocco (5-9 May 2012).
"Somebody said my pictures are diamonds but they are diamonds with charcoal and carbon inside. What's going on in the interior of that world is breakdown and chaos, but there is affection on the formal side. You constantly have to deal with these contradictions. They cause ambiguity, which is an important part of my art." Roger Ballen
ROGER BALLEN:
Like most great artist-photographers Roger Ballen's work is hard to define. Drawn from the documentary genre, Ballen has developed an approach all of his own. His photographs are complex tableaux of surreal and disturbing visions that attempt to reflect his own psyche, which he regards as revealing his existential journey in life. Focussing on the interactions between people, animals and objects that inhabit rooms - rooms that are typically squalid, their walls covered with scribbled drawings, stains and wire; their floors strewn with bizarre props and artefacts - Ballen stages unsettling scenarios that chafe on our subconscious.
Born in New York in 1950, Ballen has lived in Johannesburg, South Africa since the 1970's. His work has been exhibited in many important institutions throughout the world and is housed in numerous museum collections including Victoria and Albert Museum in London, Museum of Modern Art in New York and the Centre George Pompidou in Paris. Ballen is represented by the Gagosian Gallery, Stills Gallery and Gallery Xavier Hufkens S.A. His books have received critical acclaim such as Platteland: Images from Rural South Africa (1994), Outland (2001), Shadow Chamber (2005) and his latest series Boarding House (2009).
The organisation's flagship is 1000 Words, an online magazine dedicated to contemporary photography in the UK and beyond. It reviews exhibitions and photobooks and publishes interviews, essays and multimedia. We are committed to showing the work of lesser-known but significant photographers alongside that of established practitioners in the aim of bringing their work to a wider audience. Often incredibly diverse in terms of subjects, concepts, styles and techniques whilst always foregrounding the subjectivity of documentary art photography, 1000 Words intends to explore the limits and possibilities of the medium.
Released quarterly, the magazine attracts over 140,000 unique visitors from more than 75 countries every month. In May 2010 the 1000 Words Blog was ranked at number 3 in The Top 25 UK Arts & Culture Blogs as part of a survey carried out by Creative Tourist and was also named as the winner of Arts Media Contacts' Photography Blog of the Year Award, 2010.
Yet 1000 Words is much more than just an online magazine. It is the first step in our concept. 1000 Words also operates a programme of exhibitions and events including four annual workshops in Fez, Morocco as well as talks, portfolio reviews, prizes and awards.
1000 Words is governed by its board of directors who play an active role in the direction of the organisation. They are: Camilla Gore, Nicholas Barker, Simon Baker, Aron Morel, Louise Clements, Tim Clark, Michael Grieve and Norman Clark. The 1000 Words Workshops are organised by Tim Clark, founder and editor-in-chief at 1000 Words and Michael Grieve, 1000 Words deputy editor, senior lecturer at Nottingham Trent University and a photographer represented by Agence Vu.
ABOUT THE WORKSHOP:
The 1000 Words Workshop takes place in an authentically restored riad situated in the medieval medina, at the heart of the beautifully evocative city of Fez, Morocco. The workshop will be an intense experience lasting five days between 5-9 May 2012 and will consist of 12 participants. The medina is a vibrant labyrinth that will permeate all the senses. Surrounded by the Atlas Mountains, it offers a visually stunning backdrop for this truly unique workshop.
We are looking for a diverse range of participants who understand the work of Roger Ballen and feel that their own art will benefit from his guidance.
PRACTICAL INFORMATION:
The cost of the workshop will be £1250 for 5 days. Once participants have been selected they will be expected to pay a non-refundable deposit of £500 within two weeks. Participants can then pay the rest of the fee according to deadlines (see below). Participants are encouraged to arrive the day before the workshop begins for a welcome dinner. The price includes:
-tuition from Roger Ballen (including defining each participant's project; shooting; editing sessions; creating a coherent body of work; creation of a slide show; projection of the images of the participants.)
-a welcome and farewell dinner
-lunch everyday and snacks during the afternoon
-24 hour help from the 1000 Words team and an assistant/translator with local knowledge.
Participants will be expected to make their own travel arrangements and find accommodation, which in Fez can range from £150 upwards for the week. We can advise on finding the accommodation that best suits you. Remember that most of your time will be spent either at the riad or shooting. For photographers using colour film we will provide the means for processing and a scanner. Photographers shooting digital will be expected to bring all necessary equipment. Please note that for the purposes and practicalities of a workshop, digital really is advisable. All participants should also bring a laptop if they have one. Every effort will be made to accommodate individual technical needs.
"I have had the most profoundly moving, fascinating, difficult, wonderful week of my life. Thank you 1000 Words. Words can not describe. I have been continuing with my project. It feels different here, of course. And much slower progress. But still shooting with the same or similar mindset. All connected to what I did in Morocco. Really, really missing everyone. I feel privileged, truly, to have been part of it. Have been in the countryside with my parents since getting back and finally showed my mum the slideshow, with music that had been spinning around my head. She cried." Laura
"The Erik Kessels workshop in Fez has been a fantastic and motivational experience that I will carry with me my whole life." Andy
"The choice of city (Fez) to develop such an educational and inspirational workshop is amazing, since the immersion begins as soon as you arrive. You are induced to leave your comfort zone and search for new references and perspectives, and given that the culture and language are so unique they also become great ingredients in this creative quest. The whole infrastructure offered during the workshop and also the specific venue where the meetings and tutorial activities took place were all part of the environment, serving to create a peaceful and harmonic atmosphere that continuously inspired us all during the workshop." Alan
"Antoine D'Agata workshop in Fez was a mind shaking experience, and for me that was just what I needed! Antoine's repeated question to me was, "but what do you want?" What a simple question it may seem but to truly honestly answer this was one of the hardest things. Antoine struggled with me daily to be truthful to the process of shooting and to my work. Trying to do this as a white woman in a muslim foreign country seemed scary at first. But soon enough this fear pushed me to go farther than I had before. To take more risks and be more bold. In the end, I had allowed myself to befriend men and women who were at first just strangers on the street. My once beautiful but safely intimate portraiture became more real for me, evoking not only the fear of letting myself leap in a strange place but in the process of doing so, being able to see so much more in others.
The workshop venue was such a treat and incredible place to be able to go to every day. A sanctuary to rest and to edit and collect your thoughts. A place to run into your fellow work shoppers and bounce around ideas. The food was more than I had expected and in fact pretty much the best food I ate in Morocco in my three weeks travel. Tim and Michael were so on top of the workshop; they were there managing every detail from accommodations, food, coordinating the class meetings, running film to labs, scanning, and even just being sweet and kind pals to talk with about your day or have a beer with and brainstorm about your project.
All in all, this workshop could not have been better and I feel so lucky to have had such an opportunity. Antoine's phenomenal out of the box thinking and honesty is one of a kind. 1000 Words' workshops fall into the 'do not miss this' category!" Katie
We require that you send 10 images as low res jpegs and/or a link to your website, as well as a short biography and statement about why you think it will be relevant for you to work with Roger (approx. 200 words total). Submissions are to be sent to workshops@1000wordsmag.com with the following subject header: SUBMISSION FOR 1000 WORDS WORKSHOP WITH ROGER BALLEN.
01 March 2012: Deadline for applications
05 March 2012: Successful candidates contacted
12 March 2012: Deposit due (£500)
09 April 2012: Second installment due (£750)
04 May 2012: Arrive in Morocco for welcoming dinner
05 May 2012: Workshop begins
09 May 2012: Workshop ends
frieze issue 143 and frieze d/e issue 3
We are very happy to announce a new discounted offer on frieze magazine exclusively for 1000 Words readers. Over the past last twenty years, frieze has firmly established itself as the leading print publication in the field of contemporary art and culture. Astute critical analysis, exquisite design and through using informed and dedicated writers (guiding principles which are very close to our heart), frieze still continues to be the magazine of choice for today's brightest and most forward-thinking writers, artists, curators and collectors.
Here, we present a short preview of the current issue of frieze, and frieze d/e their new quarterly bilingual journal, both current issues of which are entirely dedicated to photography!
frieze - issue 143: Still-Life Photography
In the new issue of frieze Elad Lassry discusses his sculptures that "happen to be photographs" with curator Mark Godfrey, articulating the relationship between objects, the importance of the frame and the potential of "nervous pictures."
Plus, Chris Wiley looks at new approaches to photography in the work of a number of US-based artists and David Campany discusses the intertwining of art and commercial photography in the genre of still life. Also featuring: Gilles Deleuze, Luigi Ghirri, Barbara Kasten and Kathrin Sonntag, as well as Lynne Tillman on a new book on the writing of Diane Arbus that prompts a deeper understanding of her work. Alfredo Jaar answers the questionnaire: "I distrust images".
With 40 reviews from 26 cities including: 'Untitled (12th Istanbul Biennial)'; 'September 11', MoMA PS1, New York; 2011 Folkestone Triennial; 11th Biennale de Lyon and Yokohama Triennale 2011. As well as exhibitions from: Athens, Beirut, Berlin, Brescia, Brussels, Cologne, Dublin, Dundee, London, Los Angeles, Mexico City, Munich, Moscow, North Adams, Osaka, Paris, Portland, Porto, Stockholm, Vienna and Zurich.
frieze d/e - issue 3: The Ends of Photography
How do photographs circulate and what happens to them over time? The winter issue of frieze d/e looks at how artists use photographs both as isolated objects and as instant images.
Editor Jennifer Allen considers the status of photography after the end of film. Plus, Hans-Peter Feldmann contributes an exclusive artist project. Also featuring: Marieta Chirulescu, Haris Epaminonda, Holger Hiller, Dorothy Iannone, Albert Oehlen, Rudolf Schwarzkogler, Hito Steyerl and Christina Zück. With 20 reviews from 16 cities including: Aargau, Berlin, Cologne, Dusseldorf, Hamburg, Innsbruck, Kaufbeuren, Lausanne, Leipzig, New York, Stuttgart, Vienna and Zurich.
Receive frieze and frieze d/e through your door and save 25% on newsstand prices.
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Ochi Reyes
All images © Ochi Reyes
Last Saturday, I met up with my fellow judges and the participating photographers from this year's Fresh Faced and Wild Eyed at The Photographers' Gallery offices for the follow-up portfolio reviews and slideshow. Now in its fourth year, the competition celebrates the breadth and dynamism of photographic work produced by recent graduates from across the UK. Following an online application process, the 20 selected finalists were exhibited in an online gallery. To see the list of those photographers who were included, and their respective works click here. This year's judges were Edmund Clark, photographer; Louise Clements, Artistic Director, QUAD and Format International Photography Festival; and Brett Rogers, Director, The Photographers' Gallery and yours truly, (Editor-in Chief, 1000 Words Photography Magazine).
At some point during one session with a particular finalist, Ochi Reyes, a voice in my head started to channel the words "She's got something special" for these indelible self-portraits hit me hard. Their dry humour and deadpan compositions and style remind us of better-known female practitioners from the past such as Jo Spence but also speak in the more contemporary photographic language of say Marina Abromovic or even Catherine Opie. Poignant and political, Reyes' work examines the influence of the other on the self. She is interested in how our identities are culturally constructed, and her photography explores how conceptions of gender distinctions, love and desire are imposed on our bodies from outside. More often than not, the characters in her photographs are actors, and she questions how we become actors in our own bodies, playing out the roles already scripted and prepared for us. Her photographs question the nature of representation, often exploring the mise-en-abîme effect of using one sort of representation inside another. In her artist statement for the project Revelations, shown above, she writes:
"My own body and thoughts are the basis for a critical examination of society's expectations to do with identity, surrounding issues of age, gender and family. All of the thoughts scratched onto my skin are related to not fitting in and the feeling of anxiety arising from this displacement. The surface of my body portrays how these thoughts, which come from outside, find their way not only into my psyche but also into my own body image.
My skin condition, dermographism, means that the surface of my body can be inscribed as if it were a slate. In the same way that early morning thoughts linger for a short while before they disappear, leaving a slight trace that remains throughout the day, my skin slowly goes back to normal over the course of the day and is ready the following morning to be re-inscribed. It is not only this malleability of the skin, that interests me, but also the idea that skin absorbs information from the outside world; it is the interface between the self and others, both separating us and becoming the physical link between our bodies."
Ochi Reyes was born in Madrid in 1974. After studying at Murcia School of Art she moved to London and completed a degree at Westminster University in Photographic Arts in 2010. In 2005 her project Photographs of an Amorous Discourse was shortlisted in the category Descubrimientos in PhotoEspaña. She is currently studying for an MA in Photographic Studies at Westminster University. Definitely one to watch.
Whilst researching for our latest issue "Thereness", we came across a selection of videos on featured artist Roe Ethridge. In this particular interview with MoMa's Curator of Photography, Roxana Marcoci, Ethridge discusses his experience of working in commercial photography and its influence on his personal projects, and in the process gives us an interesting insight into his unique approach to making fugues that are achieved through what he refers to as "amnesic states of wondering".
Here is an extract from Maggie Gray's article in issue 12 of 1000 Words:
"Roe Ethridge studied at Atlanta College of Art, after which he found work as a catalogue photographer to make ends meet, so the theme of day to day luxury and branding is one he knows well. On top of influencing his subject choices, Ethridge's commercial experience informs the eclecticism of his style. Working to other people's briefs throws up a host of visual and thematic scenarios. As Ethridge put it in this interview, he can photograph "a golden retriever one day and an underwear model the next." He brings the same incongruous variety to Le Luxe: a turn of the page leads the viewer straight from bikini-clad women to a thoughtful shot of an empty maple syrup jar. Unlikely reverberations and echoes emerge throughout the book. One photograph depicts men breaking up stone slabs for the Goldman Sachs construction. In three others, similar slabs feature as impromptu ashtrays. Are they from the same source? Does it matter if they're not, if the associations still resound? Other themes, such as Ethridge's fascination with textural surfaces, are woven more intrinsically into the whole. His free and associative combinations deliberately reflect the heterogeneity of a photographic career – the juggling of projects, the frequent unsolicited finds and the constant casting about for inspiration. Nothing in his work happens in isolation as he draws, untethered, from his entire visual practice.
That Ethridge is prepared to include images from all areas of his work, and beyond (he regularly borrows from public sources such as newspapers and online media) is a powerful thing in itself. Some of the pictures he employs are pixelated and blurred, brazenly failing the standard tests of 'good' photography. But contemporary life sees a constant bombardment of images, good and poor, particularly online where they are circulated, replicated, cropped and corrupted with ease. Ethridge is one of several artists who have taken the plunge, raiding this plethora of modern photographs to create work that – to quote video artist Hito Steyerl – offers a "defence of the poor image" instead of bemoaning it. This practice of grabbing, scanning and pasting from other sources raises thorny questions of ownership and originality which Ethridge confronts with humorous candour."
Also worth flagging up is this short interview and slideshow of Ethridge's work created by The Photographers' Gallery as part of the Deutsche Börse Photography Prize 2011 and, finally, here is an installation video of Ethridge's exhibition Le Luxe II BHGG at the Gagosian Gallery in Beverly Hills that took place June 9 - July 21, 2011.
Labels: MoMA, Roe Ethridge, Roxana Marcoci
Tallinn Photomonth 2011
Marge Monko, I Don't Eat Flowers, 2011, colour poster, 42 x 59cm
In 1989 a united group of people formed a human chain that stretched six hundred kilometres across the three Baltic states – Estonia, Latvia and Lithuania. In a move to denigrate the 50th anniversary of the Molotov–Ribbentrop Pact, three pro-independence groups from the three nations organised The Baltic Chain. Witnessed globally, the scene was a powerful act of social solidarity and mobility, preceding Lithuania's declaration of independence by just six months. Estonia and Latvia were to follow. On the evening of 19 August 1991, an attempted coup (the "August Putsch") occurred in Moscow in an endeavour to take power from Gorbachev. This contributed markedly to the eventual dissolution of the Soviet Union. The coup, supported by the Soviet commander of the Baltics, set in motion the declaring of independence of the Baltic States. On 20 August, as Soviet tanks approached Tallinn, the Estonian-Soviet parliament met in an emergency session to decide the fate of Estonia in or out of the hands of oppressive Soviet power. There occurred the conclusion to the "singing revolution", as it has been named. A revolution of humility: a revolution of no deaths. The harmony and control shown in this way of overturning power is representative of an attitude that can be seen in the considered and collected nature of Estonian culture today.
KUMU, the Estonian modern art museum, designed by Finnish architect Pekka Vapaavuori Tallinn, Estonia: the 2011 European Capital of Culture.
Such an occasion for a nation with relatively recent independence is an opportunity to demonstrate the individuality and progressivity of its culture in the twenty-first century. With the same consideration and acuity as Heinz Valk's "singing revolution" of 1991, Estonia has created a vibrant art scene in its capital that does not accede to all of the demands of the art market, instead preferring a discourse that remains on the most-part commercial gallery free, and state-supported in its activities. When few are selling and even less are buying, the discourse of art-making as an incongruous set of commercialised practices is somewhat relieved, resulting in a group of practitioners that seem to be more genuinely interested in the pursuit of art as political and aesthetic process (in-as-much one can separate commerce from these two vast areas of enquiry). For an example, see the Estonian 'capitalist anti-capitalist' collective Visible Solutions. It's not that the Estonian art scene doesn't want or anticipate a market for its artworks; it just hasn't developed yet and there is seldom a commercial gallery showing contemporary art to be found in the city. One of the few current examples is Temnikova & Kasela Gallery, who will soon present a seminar on collecting contemporary photography.
Tallinn Photomonth took place this October, and is comprised of a number of exhibitions featuring international and local photographers, or artists, working within the field of lens-based media. The message is clear: Tallinn Photomonth seeks to address current photographic discourse internationally, while showing something original to the Baltic, and indeed Estonian photography. The festival is named Natural Magic, and is filed under the auspices of "exhibitions and events that seek to thematize the possibilities, limits and spatial relations of lens-based art".i For such a huge thematic undertaking, the series of exhibitions around the city contain the usual didacticism one would assume, as well as some genuinely interesting and thought-provoking excursions into the world of Estonian and international photography. The exhibition has been incredibly well organised by Marge Monko, who is also a practicing photographer and a lecturer in the photography department at EKA, the Estonian Art Academy.
BEYOND: Solipsism and Curating
KUMU, the Estonian Art Museum, plays host to the largest and most capacious of the festival's exhibitions. The building is a shard-like structure in the neo-modern style, jutting out of a limestone cliff. Its inside is curved as one makes one's way up ramps and steps from level to level. It is a wonderful space for viewing art and one that is generally used to great success, particularly the exhibition The Soviet Woman in Estonian Art, which I saw on my first visit to Tallinn and which opened in April 2010, curated by Katrin Kivimaa and Kädi Talvoja. On my visit this time, I am also intrigued to see an exhibition of work by Tadeusz Kantor, polish avant-gardist and theatre reformer.
For Photomonth, the headline exhibition BEYOND (Look at my face: my name is Might Have Been; I am also called No More, Too Late, Farewell), curated by Adam Budak, features a number of great and interesting works of photography-cum-sculpture-cum-mixed-media, coherently hung together under an unfortunately didactic and ostentatious curatorial proposition. This proposition could be read as really having little to do with the references and meanings behind the works themselves: A large collection of works, with a huge set of individual references and associations, are grouped together under a theoretical pennant, and flown confidently as an exhibition designed to engage the public in an accessible and clear manner (presumably?). The problem is not that theory shouldn't lead the concept of a publicly-funded exhibition, nor that intellectualising contemporary art is a problem at all, it is just that within the discourse of contemporary curating, there seems to be a decision being consciously or unconsciously made that any theory can be paired with any set of artworks, regardless of their ambiguous connections:
"BEYOND (Look at my face: my name is Might Have Been; I am also called No More, Too Late, Farewell) is foregrounding a self-reflexive nature of the photographic medium and its current condition as well as the photography's "conditionality" and "exigency" (what Agamben calls "a demand for redemption", or what he perceives as an agent of the "real that is always in the process of being lost, in order to render it possible once again"). What makes photography "possible"; what makes it "work", being "useful" and acting in a "relational" way; how photography continuously contributes to the architecture of the image and goes BEYOND (it); what does make photography "speak"; what is "gestural" about it; how to go BEYOND the medium or move AROUND while simultaneously remaining within the photographic discourse?"
The poetic title par excellence opens up the "multiple perspective" approach of much curating; a form of practice that attempts to be flexible in terms of meaning, but in fact remains ambivalent for fear of being pinned-down in response to criticism. This position allows a number of rhetorical safeguards that distract from the almost total lack of cultural engagement paramount in this publicly funded, institutionally supported show. It is the exhibition that does everything, means anything and says absolutely nothing (which seems to be a regular trait of this particular curator). It is the contribution to a discourse where an exhibition must support itself with heavyweight theory - a philosopher's oeuvre that is being reconsidered in light of some new advancement in contemporary art. It must purport to make the grandest and most profound of statements, asking the viewer to reconsider the meaning of not just a single subject, but the whole discourse of photography itself; its history as an art from; its 'self-reflexivity'; its 'conditionality' and its 'exigency'. Exhibitions like this take theory out of context and place it in a vacuum-like space somewhere between the financial rhetoric of the art-market and the bemusement of practicing artists and theorists who must attempt to engage with, criticise, or simply "discuss" the myriad of disconnected ideas often put upon the table of exhibition-making. See here and here for other prime examples, and here and here for more contemporary elaborations.
Agamben is not known as a theorist of photography, and his short essay Judgement Day seems to fall into the same Barthesian trap that James Elkins has so well criticised Barthes himself for in his text against Camera Lucida – What Photography Is (2011). The punctum, "…so personal, so close to history and so close to solipsism." ii Agamben reads like that, his closing remarks in Judgement Day that put affect at the centre of viewing all photographic images; almost to say all we have is this raw and unparalleled emotion and that all photographs are necessarily imbued with such conditions, such exigency. Agamben's photography is not a photography of aesthetics (he admits this, preferring rather to see it as a 'demand for redemption'), but a photography of judgement: the Brazilian girl in the portrait he speaks of in Judgement Day is judging him, as if her frozen timelessness could say something more profound than 'Look at the objects that surround me. I am here, at this time, not in your time.' Perhaps photographs have the ability to judge us only when they exist in multiplicity? Perhaps a single image is lost without other points of connection in the form of other images? That is one of the reasons why bodies of photographic work commonly exist in series: the photographer himself feeling the need to present serial images of a space, a subject, or a time, in order to make sense of it. Even Agamben speaks of more than one image, a book of images in fact:
"Photography demands that we remember all this, and photographs testify to all those lost names, like a Book of Life that the new angel of the apocalypse - the angel of photography - holds in his hands at the end of all days, that is, every day." iii
Sometimes photographs demand nothing whatsoever. They can exist entirely as images born of the often-pointless relationship between technology and human habit. Is it not the case that photography also shows a non-humanist side, one that downplays human agency?
"Camera Lucida hides photography's non-humanist, emotionless side. Photography is not only about light and loss and the passing of time. It is about something harder… not only a blurred glimpse of our own deaths, a sense of memory as photographic grain, a dim look at the passage of time, or a poignant prick of mortality, but something about the world's own deadness, its inert resistance to whatever it is we may hope or want". iv
Sometimes photographs do not contain the events we ascribe to them, or the profundity we label them with; they can also be empty and punctum-less. Such images portray the act of doing simply because one has the ability to do; building simply because one has the ability to build. And as the US housing market has recently shown us - so interestingly and subversively revealed by Edgar Martins' Ruins of the Second Gilded Age - sometimes there is no one to use or occupy that which has been constructed. Your average person with an iPhone: click, click, and click goes the digital shutter as yet another pseudo-analogue photograph gets sent into the flickering ether. What of this huge archive of images? What are we to do with it? The advent of the "online exhibition": curating the immaterial, a shifting, morphing subject…
Agamben cites Benjamin, but Agamben's angel of photography doesn't seem to view the past as a continuous catastrophe, more an exigence for the punctum itself; that spontaneous, habitual Barthesian nostalgia. Agamben's angel of photography would not be forced by a storm into the future, but would keep photography in some crumbling idea of its own past (the punctum, a mirror; the narcissism of meaningless humanity). The angel of photography holds in her hands the whole of Flickr and Facebook; an incredible weight to bear whilst caught in a storm, moving towards the future. The images she holds do not contain a punctum, nor do they put affect at the centre of their existence, they are simply historical moments and coincidences:
"The notion of the 'true' image has been blasted apart – to use Benjamin's words – by the dynamite of the split second. No snapshot is an absolute resemblance – Rodchenko uses the example of Lenin to make his case – there are only moments and coincidences. No one photograph summarizes the essence of Lenin, for there is no essence, there is no synthesis, only a shifting subject who moves through time, modifying history, being modified." v
Like Elkins' statement on Barthes' closeness to solipsism, so too we see the solipsism of the contemporary curator; one who looks for meaning in exhibition making, but instead ends up back with the conclusion that only he can be proved to exist; that exhibitions must show the existence of the curator overtly. Long has a time passed when the curator lurked in the background of the museum; now he is an art-world celebrity; his name appears in matt-grey vinyl lettering across the wall of the white cube at the same scale of that of the artist. Like the angel of history, a storm pushes the relational, global, philosopher-curator (of which Nicolas Bourriad is the epitome) into the future while art history crumbles behind him in total despair.
BEYOND Mini-symposium
Daniele Monticelli delivers the opening lecture The Event of Language: Life In (and After) the Society of the Spectacle according to Giorgio Agamben. He succeeds at presenting an accessible and intelligent account of Agamben's thesis adopted by the exhibition's curator, and in doing so proves it bears little relevance to the works of art featured in the show, other than in the most profoundly general manner.
Liz Wells brings some coherence to the situation by delivering a highly interesting paper on shifting notions of the sublime, which focuses more on paintings of the polar landscape and Caspar David Friedrich than on the exhibitions concept.
The mini-symposium concludes with a group discussion with several of the artists, in which the curator explicitly refuses to answer questions about the exhibition, preferring to divert attention to the practitioners who all look genuinely perplexed by what is expected of them, with the exception of Alexandre Singh who made some lucid comments that both rightly contradicted and surpassed the logic of the exhibition's concept. I must also use this opportunity to point to the interesting work of Dénes Farkas, the Hungarian artist who has, for a long time, been contributing to a burgeoning contemporary photography scene in Tallinn.
Moments of Reprieve at Tallinn Art Hall
This exhibition, co-curated by Louisa Adam and David Birkin, and held at the Tallinn Art Hall, contributes to an argument about the crisis of photojournalism, which could find expression, again, in Walter Benjamin's essay The Author as Producer. Here, Benjamin rightly criticises the tendency photojournalism has to objectify suffering for bourgeois consumption, creating images that allow for too comfortable a contemplation of their content. The critique Benjamin wrote of Albert Renger-Patzsch's publication The World is Beautiful (1928), contributed towards his wider criticism of the "new objectivity" movement in Weimar Germany at this time. The relationship between aesthetics and politics, according to David Levi-Strauss, reached boiling point in the 1980's and 1990's, when several writers took up their discontents with photojournalistic practice and its "aestheticisation of suffering", including Martha Rosler, John Tagg, Abigail Solomon-Godeau and Allan Sekula (one could add several others to this list).
Today, there are a number of practitioners that continue to criticise mainstream photojournalism, including David Birkin and Adam Broomberg & Oliver Chanarin - who all feature in this exhibition - along with Indre Serpytyte, Idris Kahn, Ori Gersht and Taryn Simon, who, in a variety of ways contribute to this important discourse, where photography exists as social critique and as political engagement, which is one very good definition of art and one that perhaps Benjamin would agree with.
"Moments of Reprieve brings together a group of artists whose work responds conceptually to the challenge of articulating loss in photography, whether as personal experience or political critique. Through a series of staged and stolen moments, the photographs in the show expand on the idea that the medium and its modes of production may point to something beyond a literal visual depiction – for instance, by highlighting how images can communicate more through what they conceal than the subjects they portray. The exhibition takes its title from the 1978 book by Primo Levi, recalling the small and often unspoken gestures encountered during his imprisonment that restored a sense of humanity in otherwise inhumane circumstances." vi
The idea of loss (loss of life; loss of information; loss of control) - one of the key points of consideration in any individual or society's experience of war - is a valid and understandable concept for an exhibition. Where as BEYOND sought to obfuscate cultural engagement and demand the impossible of itself, the exhibition Moments of Reprieve succeeds in contributing coherently to Tallinn Photomonth by, ironically, disentangling a set of works that hold obfuscation (partial or complete abstraction) at the centre of their existence. The former exhibition takes a body of artworks and seeks to obscure them in verboseness, while the latter exhibition takes a body of obscure and often abstract works - with a stringent political message - and gives them relevance and a platform for accessible cultural engagement.
"I spoke of the operation of a certain type of fashionable photography, which makes misery into a consumer good. When I turn to the 'new objectivity' as a literary movement, I must go a step further and say that it has made the struggle against misery into a consumer good." vii
If much mainstream photojournalism, even to this day, represents part of the ideology of "new objectivity", then it is exhibitions like this one that seek to question it. As Adam Broomberg & Oliver Chanarin have already expressed their objection at the way in which photojournalism comes to be seen and what it means, so too does this exhibition contribute to a discourse of photographic practice and exhibition-making that seeks to expose and criticise some of the problems inherent to contemporary photography and its politics of obfuscation (as Brecht terms photography's obscuring ability in 1931, in the following quote). The role of the mainstream photojournalist has been replaced by the vernacular or everyday image. Technology has developed sufficiently to allow for a situation where photojournalism is rendered redundant in its traditional "new objective" function by the very apparatus (camera technology) that allowed it in the first place. Now the role of the amateur photographer or video maker, which the BBC and other news corporations will describe as "unverified footage", has taken precedence over Brecht's model of the bourgeois photographer:
"The tremendous development of photojournalism has contributed practically nothing to the revelation of the truth about conditions in this world. On the contrary photography, in the hands of the bourgeoisie, has become a terrible weapon against the truth. The vast amount of pictured material that is being disgorged daily by the press and that seems to have the character of truth serves in reality only to obscure the facts. The camera is just as capable of lying as the typewriter." viii
This ties into something incredibly pertinent Joel Snyder said in the transcription of The Art Seminar, published in James Elkins' Photography Theory. The following quote perfectly highlights the erroneous nature of much photojournalism in its quest for accurate social depiction, or verifiable, lucid truth. Perhaps then, what Joel Snyder says here describes exactly where the exhibition Moments of Reprieve might locate itself within the context of exhibition making; and perhaps where BEYOND fails in its perverse solipsism:
"This is the first kind of problem you run into with the index. If you try to go from what you see in the photograph to what was actually in the world at the moment of exposure, you eventually screw up the way we talk about photographs. What we see in photographs is not, either necessarily or even generally, what we would have seen in front of the camera when the picture was taken." ix
The first issue here is representation, in the literal sense of the word: what exists in the world at the time of a photograph is not what is recorded. Photographs can only be imbued with a minority of any given quantity of present information. Therefore the index of a photograph is only ever a small, undemocratic quantity of the index of the event it attempts to capture. I don't agree that this 'screws up' the way we talk about photography; I think it concretises it. Photographs are, on the most part, lies - be them hurtful or nostalgic lies - one who sees the punctum in an image; the narcissism of meaningless humanity - or photographs as empty depictions, such as Elkins' Dim look at the passage of time, what one is viewing is technology's ability to lie when taken at face value; when used as intended. Art that depends upon technology in a mechanical or digital sense is best produced, in my opinion, when it criticises the very conditions that make it possible; a kind of inversion of its own logic. That is what is interesting about David Birkin's Embedded series, and additionally - to give a different example outside of this exhibition - a number of Cory Arcangel's videos, including this one.
Sigrid Veer, Nude with Parents. , 2009, 35mm slide installation
Another exhibition, Generation of the Place: Image, Memory and Fiction in the Baltics, curated by Vytautas Michelkevicius, seeks to research photography as a catalyst for discussions and definitions of national identity between the three Baltic states of Estonia, Latvia and Lithuania.
"The exhibition is a part of the project Re:Searching the Baltics, aimed at reviewing photography used by Baltic artists born in the 1970–80s. Grown up in the shift of two eras, this generation still has vivid memories from the early Soviet childhood, mixed with the experience from the teen years in rapidly changing Post-Soviet environment. The experience of this local fin de siècle gave the generation a specific commonness, clearly separating them from earlier and later, entirely Post-Soviet, generations..."
Earlier in the month a solo exhibition by the Ukrainian Boris Mikhailov filled the ground floor space of the Tallinn Art Hall. The show featured two series of work: The Wedding (2005-6), which has recently been published by Mörel Books and I am Not I (1993-2002).
Daniel Campbell Blight is a writer, curator and academic based in London.
Labels: Daniel Campbell Blight, Tallinn Photomonth 2011
Hands in the fire with Erik Kessels
© Michael Grieve / 1000 Words
During the month of September 1000 Words held its third workshop in the medina of Fez, Morocco. This time we invited energetic Dutch man, Erik Kessels, curator, publisher and top banana at KesselsKrammer creative agency, to conduct an interesting and unique workshop that surprised and challenged the participants. Erik is one of those special people who injects a lateral perspective into the minds of those willing to take up a conceptual yet free thinking disposition. And as a passionate collector of anonymous photographs Erik always found the time to hunt in the medina for those vernacular gems hiding in the most unlikely places and lost on the pages of dusty albums.
1000 Words (Michael Grieve and Tim Clark) would like to thank all the participants for a productive workshop and for making the workshop a pleasant and relaxed environment. The participants were:
Alan Nielsen (Brazil)
Natasha Caruana (UK)
Alessandra Ferragina (Italy)
Hyseung Jeon (South Korea)
Hil Van Der Waal (The Netherlands)
Andy Nelson (UK)
We, of course, would like to thank Erik Kessels for his teaching skills and powers of motivation and our local assistant, Omar Chennafi, and Stephen DiRenza for allowing us to use his beautiful riad for the week.
1000 Words is organising four more workshops in Fez for 2012 with some of the finest photographers and artists the world has to offer including Roger Ballen (others still to be confirmed), and will be making a call for submissions very soon.
Labels: 1000 Words Photography Magazine, 1000 Words Workshop, Erik Kessels
1000 Words Photography Magazine #12
I am delighted to inform you that issue 12 of 1000 Words "Thereness" is now available to view online at www.1000wordsmag.com
Featuring portfolios from Léonie Hampton, Chris Shaw, Maja Forsslund, Rinko Kawauchi, Ordinary Light Photography and Roe Ethridge alongside in-depth interviews, essays and reviews by Louise Clements, Simon Baker, Lucy Davies, Natasha Christia, Brad Feuerhelm and Margaret Gray, 1000 Words attempts to show a kind of photography that draws directly and honestly from life; work that does not fit neatly into categories yet which can be infinitely more rigorous and fresher than any attempts at visual gimmickry made by the latest tricks of the trade.
In line with this, we also cover new titles from Andy Sewell, C Photo and Enrique Metinides in the dedicated books section courtesy of texts from Michael Grieve, Oliver Whitehead and Daniel Campbell Blight.
"[...]'Thereness' is a sense of the subject's reality, a heightened sense of its physicality, etched sharply into the image. It is a sense that we are looking at the world directly, without mediation. Or rather, that something other than a mere photographer is mediating. [...] Such a feeling, such alertness, when present in the photograph, can of course conceal the greatest photographic art. 'Thereness' is seen at the opposite ends of the photographic spectra, in the humblest holiday enprint as much as the most serious art photograph, in the snapshot-inspired, dynamic small camera candid as much as the calm, meditative, large camera view. Those photographs which conjure up a compelling desire to touch the subject, to walk into the picture, to know the photographed person, display 'thereness'. Those photographs which tend towards impressionism, expressionism or abstraction can be in danger of losing it, or never finding it [...]. 'Thereness', in short, is a quality that has everything to do with reality and little to do with art, yet is, I would reiterate, the essence of the art of photography".
From The Art That Hides Itself - Notes on Photography's Quiet Genius by Gerry Badger
Thanks to all the photographers, writers and editorial and production team as well as of course our advertisers for contributing to yet another fantastic issue of 1000 Words.
Enjoy dear readers, and please take note of our new studio address: 1000 Words Photography Ltd, 29 The Arthaus, 205 Richmond Road, London, E8 3FF
Labels: 1000 Words Photography Magazine, Chris Shaw, Léonie Hampton, Maja Forsslund, Ordinary Light Photography, Rinko Kawauchi, Roe Ethridge
Greetings from Fez, where our workshop with Erik Kessels is in its final stages. Tomorrow the participants will present their projects but there will be a future blog post for this. For now, I just wanted to share this wonderful talk at TEDxAmsterdam which Erik has put me onto. Its by Hans Aarsman and is titled 'From pretty to ugly and back again; mysterious ways of beauty in photography'.
Surprising, insightful and at times hilarious, Aarsman shows different concepts of beauty in photography, and suggests that the only real photographic beauty is to be found in pictures that were made without such a goal in mind....Food for thought as we break for lunch.
Labels: Erik Kessels, Hans Aarsman
Michael Ackerman
We stumbled across this haunting, yet rather dramatised multimedia piece on Michael Ackerman's Half Life, the book of which is featured in issue #11 of 1000 Words. In his review, Francis Hodgson took exception to the project stating, among other things, that although the book is often very moving it is not coherent.
"The manner is dark and often blurred, with a heavy grain and a permanent air of history weighing directly upon each photograph just as the light does. There is (or there purports to be) a great deal behind these photographs which is not actually in them. A text by Denis Kambouchner suggests that the pictures are haunted. But Ackerman's history is not broad, although it runs deep. He has a neat trick of confining himself to that part of our cultural baggage which is shared enough that no further explanations are needed. Dark woods are a simple example. Dark woods are the places of fairy stories, but also of massacres. Naked men in the shower have overtones of concentration camps. Even if you look at photographs of the traditional showers used by the racers after the famously brutal Paris-Roubaix cycle race, they often have those overtones. Ackerman has been living and working for some years in Poland, where he can't resist the trains: train journeys through Poland are also a branded historical reference. A composite is building up. Ackerman's subject is often the second world war, and the legacy it has left even as the memory of it fades. And when he's not looking directly there? Tense pictures of men with hard faces, or naked women, or people on beds. Mini-adventures up stairs or through woods. Smoking and drinking. Again, a composite is building up. This is the mind of a teenage boy. Not the football and Xbox sort of boy, but the more soulful Rimbaud-reading boy interested in death and melancholy."
The rest of the review is available here.
Labels: 1000 Words Photography Magazine, Francis Hodgson, Michael Ackerman
Irina Rozovsky
All images ©Irina Rozovsky
While looking through our submissions inbox we found this delicate and understated project by Irina Rozovsky. One to Nothing is a gentle body of work about Israel that abandons any preconceptions or prejudices we may hold towards this typically "troubled" place or depiction thereof.
"One to Nothing depicts an Israel we do not see on the news. These images go beyond politics: they do not defend a side or critique the conflict. Here, Israel is seen in an unexpected light, as a mythological backdrop to the age long struggle between man and the dusty, sun bleached landscape of his origin. The score to this existential battle is locked at 1– 0, with no finish line in sight. A loose, subtle, and open-ended narrative One to Nothing describes historic tension with striking and unusual observations."
Irina Rozovsky, was born in Moscow in 1981 and grew up outside of Boston. She received a BA in French and Spanish Literature from Tufts University and an MFA in Photography from Massachusetts College of Art.
She was a recipient of the Magnum Expression Finalist Award, juried by Martin Parr in 2010 and her work has been shown in national and international exhibitions. Among these are; 31 Women in Art Photography, curated by Charlotte Cotton and Jon Feinstein, Photo España, Madrid, Les Rencontres d'Arles, and, most recently, she was the subject of a solo exhibition at the New England School of Photography, Boston.
Rozovsky currently lives in Brooklyn, New York and One to Nothing is her first monograph, recently published by Kehrer Verlag.
Labels: Irina Rozovsky, Kehrer Verlag
Alejandro Chaskielberg @Michael Hoppen Gallery, London
Image ©Alejandro Chaskielberg
The exhibition season is clearly back in full swing here in London. Opening next week at Michael Hoppen Contemporary is High Tide, an exhibition of new work by the fantastic Argentinean photographer Alejandro Chaskielberg, who I tipped as my name to watch ahead of the Brighton Photo Biennial 2010 for a piece in the Telegraph last year. Chaskielberg was also the overall winner of this year's Sony World Photo Awards.
High Tide is a series of colour photographs taken in the remote Paraná River Delta, Argentina, where Chaskielberg lived and worked from 2007-10. His subjects are local residents of this isolated community who rely on the river for food, work, travel and communication with the wider world. His portraits are ethereal, dreamlike images that convey the everyday life of those photographed - lumberjacks shifting heavy timber, an aged hunter sitting by an open fire in contemplation, lovers walking under the stars.
Working at night under a full moon, Chaskielberg documents the relationship between the inhabitants of the delta and their environment in startling technicolour using techniques that push the boundaries of the medium to transform our natural perception of light, colour and space, whilst still referencing the aesthetic of nineteenth century photographic portraiture.
Chaskielberg requires his subjects to pose still for up to ten minutes in order to distinguish the image from the thick darkness, relying on the natural light from the moon and supplementing this with a variety of artificial lighting tools - torches, flashes and lanterns, creating imaginary scenarios with real people and situations.
"My intention is to use photography to occupy a border between document and fiction and imbue the islanders with a strange timelessness. Photography can transform reality and produce a magical view of people and of life."
This will be the first solo exhibition by the artist in Europe and as such is a great opportunity to view and acquire a group of prints from an artist who is quickly crystalising his reputation as one of the bright new talents of his generation. Michael Hoppen Contemporary will be celebrating his success at the Sony World Photo Awards as well as the release of La Creciente, a monograph of Chaskielberg's photographs newly published by Nazraeli Press.
The exhibition runs from Thursday 8 September to Saturday 1 October. Michael Hoppen Gallery, 3 Jubilee Place, London, SW3 3TD.
Labels: Alejandro Chaskielberg, Michael Hoppen Contemporary
Ej Major @Matt Roberts Arts, London
All images © Ej Major
A buzz surrounds Ej Major's one man show that opens on Thursday at Matt Roberts Arts, winner of the 2011 Salon Photo Prize (sponsored by 1000 Words). Of the work on display, most notable is her clever faux biography entitled Marie Claire RIP.
"These series of 12 images," Major explains, "is based on an article published in Marie Claire in 2002, which featured police mug-shots of a [heroin addict] taken over a fourteen year period. The article revealed that not long after the last picture was taken the woman was found dead."
She adds, "Marie Claire RIP is a re-staging of these images using myself as subject. I intended the piece to be non-specific in terms of the nature of the character's demise. There is no direct reference to heroin addiction. The series may be read in terms of each person's story or experience who views it. While the piece challenges the veracity of the photographic portrait it also finds an authenticity in a notion of self-portraiture that involves acting. It is me and it isn't her and yet it is her and it isn't me at the same time."
This exhibition runs from Friday 2 September to Saturday 24 September. Matt Roberts Arts, Unit 1, 25 Vyner Street, London, E2 9DG.
Labels: 1000 Words Photography Magazine, Ej Major, Matt Roberts Arts, Salon Photography Prize
1000 WORDS WORKSHOP WITH ROGER BALLEN IN MOROCCO, ...
Alejandro Chaskielberg @Michael Hoppen Gallery, Lo...


Dan joined Golfalot in 2018 and took up golf on the back of a successful cricket career. The switch has suited him as his first handicap was single figures and he continues to lower it.
3 new models designed to be Accurate, Innovative and Measurable.
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New March slot, same great tournament?


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text:
June 14, 2019 ThisPlanet
Microgrids are local energy systems. In the bad old days, dirty generators ran them. Today, renewables can send clean energy to microgrids But what happens when its cloudy or the wind dies? The Guardian Newspaper says: "While...batteries are able to store enough energy to cope with short-term variations in demand...
May 25, 2019 ThisPlanet
Resilient Neighborhood teams go on a "low carbon diet." They aim to lose 5000 pounds of carbon in 60 days.
May 2 2019 - Researchers gave silicone wristbands to people around the world - and were amazed by what they found. The wristbands absorbed the same chemicals from the air that people wearing them absorbed through their skin and breath.
April 23, 2019 ThisPlanet
Over a million students around the world skipped school on March 15 to protest government inaction on climate change, with thousands of rallies in 125 countries, making it the largest youth climate action in history. See www.schoolstrike4climate.com
Greta Thunberg, the originator of the school strike for climate, is featured in the video when she attended the Extinction Rebellion events in London. See http://rebelion.earth
Young climate activist Nick Matteri was interviewed at the Youth Climate Strike in Santa Rosa, California, where hundreds of North Bay students gathered to demand action on climate change. This strike footage was produced and directed by http://www.greenchange.net/
February 20, 2019 ThisPlanet
Imagine that you've decided to build your dream house. You hire me to be your contractor. Fast forward 6 months later and I have done zero work. In fact, I've barely started drawing up plans for you to approve. What would you do? Would you take me to court? More: http://ourchildrenstrust.org
Plants inhale carbon dioxide from the air. Scientists at Salk Institute are developing plants that capture even more CO2. Planted on a large scale, they could help slow climate change. A recent study shows that the top two meters of the Earth's soil stores over three times as much carbon as the air, and could absorb even more.
The giant Asian hornet preys on insects, but has been known to kill humans. That's why aggressive tactics like these are used when their nests are found. The hornets have spread from China to Europe, where they are decimating bee and wasp populations. A French company has deployed an army of hornet-killing drones filled with insecticide.
January 28, 2019 ThisPlanet
First, 300,000 French people signed a petition and tens of thousands took to the streets. They protested a gas tax meant to fight climate change. Now over 1.6 million French people have signed a petition demanding their government do more to protect them from climate change.
HERE'S A RIDDLE: WHAT DO A BILLIONAIRE, A BUNNY, AND A PENCIL HAVE IN COMMON? THE ANSWER -- IS BATTERIES. FIRST, THE BUNNY. HE RUNS ON BATTERIES BUT REALLY, HE'S HERE TO KEEP YOU WATCHING A STORY ABOUT BATTERIES. THE BILLIONAIRE IS ELON MUSK, FOUNDER OF TESLA MOTORS AND SOLAR CITY.
Greenland has been covered by massive glaciers since time immemorial. The ancient sagas say that the Viking Erik the Red gave Greenland its name on purpose. He aimed to attract unwary settlers who would be put off if he had called it something more accurate - like "Whiteland."
Sir David Attenborough, the famous host of nature shows on the BBC, spoke at the U.N. climate summit in Poland. "We are facing a man-made disaster of global scale. Our greatest threat in thousands of years...Climate Change. "Leaders of the world, you must lead," he said.
December 01, 2018 ThisPlanet
Evolution is happening faster forced by human-created changes. Since hunters kill elephants with large tusks elephants with small tusks are more common. The beaks of finches are changing shape because they are eating from bird feeders. Swallows with short wings maneuver better around buildings and traffic.
November 21, 2018 ThisPlanet
Good news, bad news, about the hole in the ozone layer over Antarctica The hole is shrinking 1% to 3% per decade. Why? A 30-year-old international treaty to ban the chemicals that caused the hole is working. But now, our warming planet is affecting ozone. A warmer atmosphere generates more ozone, shrinking the hole.
Although China: * Produces 43% of the world's wind turbines * And makes 60% of its solar cells Beijing's air is very polluted. So China is putting its 772,000,000 Internet users to work - planting trees. Virtual trees, using the Ant Forest app.
Climate Change is disappearing from government websites 2014: the Environmental Protection Agency published videos warning the US and proposing actions First the EPA website shut down its Climate Change page to make "updates."
2014-17 was the worst coral bleaching event in history. But now, the reefs of Sulawesi Island, in the "Coral Triangle," are surprisingly healthy. These reefs are both less vulnerable to warm waters And positioned to help regenerate nearby degraded areas.
Arches National Park, Northeastern Utah: Researchers have a new way to tune in to the vibrations of natural arches. Each of these spectacular landmarks vibrates like a guitar string with its own distinct resonance ...its own "voice" The University of Utah research team is also imaging arches endangered by national monument cutbacks.
Pet lovers, prepare to be disappointed: Your cats and dogs are not as wonderful as you think. A new study shows that feral cats are not so great at killing wild rats. They prefer easier prey, like birds. But not big birds And dogs? New research found dogs are no smarter than wolves, horses or dolphins.
October 05, 2018 ThisPlanet
Hurricane Florence was a monster It damaged 4300 homes in North Carolina The National Flood Insurance Program will give many N.C. homeowners money to rebuild. Again. In Belhaven N.C. : Over the last 40 years 120 homes received $13,400,000 to rebuild 5 homes were paid to rebuild 10 times But only about 40 homes received money to reduce exposure to the next flood.
DNA analysis has confirmed the first known hybrid of a melon-headed whale and a rough-toothed dolphin, spotted off the coast of Hawaii. Scientists say that a single male hybrid doesn't mean a new species is emerging. But new hybrids - like grolar bears, crosses between grizzlies and polar bears - are popping up in recent years.
Can cows repair climate damage? Southern California Gas agreed to pay nearly $120 million to address climate impacts and health concerns from the huge Aliso Canyon gas leak. It released 109 thousand tons of methane, a potent greenhouse gas, into the atmosphere. The plan? Capture methane from cow poop.
The population of king penguins in what was once the world's largest colony has plummeted by nearly 90 percent over the last 35 years and scientists don't know why. The Île aux Cochons colony in the southern Indian Ocean was also once the second largest colony of all penguins.
This Christmas Eve - December 24, 2018 -marks 50 years since this famous picture of Planet Earth was taken. Before that, space efforts were focus on the stars. But since then, NASA has launched scores of satellites to study the earth itself. Earth-observing satellites reveal rainfall patterns that help predict landslides.
August 5: a 6.9 magnitude earthquake in Lombok, Indonesia. Satellite images revealed that parts of Lombok island were lifted 10 inches. Other parts dropped by 2 to 6 inches. The temblor killed over 430 people.
A long hot summer in Norway. Summer temperatures in the nation's north usually average between 46° and 61°F. This year, they shot above 89°. Melting ice caused the death of one tourist exploring Norway's famous glaciers. Reindeer and sheep, seeking shade in roadway tunnels, caused 44 traffic collisions in July.
In rural Pennsylvania, the fracking boom has gone on for years. But things haven't always turned out as expected The reality is, rural roads clogged with trucks, polluted water stored near clean sources, mysterious illnesses, and yeah, this But now, things are changing fast. In February 2018, an Environmental Defense Fund study revealed that leaking fossil fuel operations were emitting 100% more greenhouse gasses than were reported to the state. In May, a church pension fund led a shareholder revolt against Range Resources, demanding a review of emissions standards. And in June, Pennsylvania set limits – for the very first time -- on the release of the greenhouse gas methane by frackers.
Huge failure of Fukushima nuclear recovery in Japan, huge meteor streaks across eastern China, huge bear infestation in a Japanese tourist haven met with - super-cute puppies! Check it out
Danger Episode! Swim with sharks, avoid mosquitos and whatever you do, don't breathe the vog.
Russia is loving nuclear power. California is loving renewable energy. And England is loving...beavers!
This week, plants, animals and humans. Looks like plants can talk to each other and spiders can learn from scientists. As for humans in the political realm, learning and communicating are, shall we say, a bit flawed.
A week for good news: Children are winning one battle about climate change, and the actor Leonardo DiCaprio has put his money where his mouth is. Even a real bad drought might have an ice-cold happy ending.
We are all about the ocean this week! Mutant bacteria could eat the plastic in the giant garbage patch, and an innovation might save the Great Barrier Reef. Then again, the currents are not quite right...
This Planet's How-To edition: How to catch banned seafood and not get caught. How to feel hope about frogs. And how to avoid falling into a yawning gap in the Earth.


A thunderstorm brought a premature end to play on day one of the Australian PGA Championship with 78 players still finish their first round. Similar to the situation at the first two days of the Australian Masters, large galleries followed John Daly. Daly stumbled at one point in his round with a double bogey and a bogey but then recovered with five birdies in his last 13 holes to record a 71 and share in 18th position.
Fellow US PGA Tour player, New Zealand Tim Wilkinson, was the clubhouse leader at six-under par when the approaching storm caused play to be officially called off for the day.
Defending champion Peter Lonard started his round with a two-under 70. ¨Robert Allenby was tied for 15th with last weekend's Australian Masters winner Rod Pampling on two-under when play was called off.
US PGA Tour player, Mathew Goggin was four-under at the halfway point of his suspended round. Fellow US PGA Tour player and 2006 Australian Open winner John Senden, shot a 3 under 69.
With an incomplete 1st round, temperatures being forecast to reach 90°F and another thunderstorm predicted to hit late in the day, Friday's play promises to be eventful. Will the closely watched John Daly make the cut? Log on to THP tomorrow to find out.


text:
Q: parse is still alive, but how to query by 'index' I found that Parse is now supported by the Buddy platform, but all the forum/help files from the old Parse website are gone...
What i would like to do is query for one row in a table by row number/index.
I now do this, but it seems inefficient to me to get all data and then select the row (although it works fine):
var thisRow = Parse.Object.extend(GlobTable);
var query= new Parse.Query(thisRow);
query.descending('updatedAt');
query.find({
  success: function(results) {

  var object = results[RowNumberThatINeed];
  //etc using object

@Ran, thanks! Somehow it doesn't work, Parse will store '1' for every row: 1,1,1,1. But it saves all other data ok.
var Object = Parse.Object.extend(LocTable);
var obj = new Object();

    obj.set("User", LocUser);
    obj.set("Happened", d);
    obj.set("Happy", b);
    obj.set("Learned",a);
    obj.set("ConnectedTo",c);
    obj.increment("rowIndex");
    obj.save({
success: function(obj) {

 updateDatabase();
 alert("Your data is saved");

},
error: function(obj, err) {
alert("Your data was not saved. Sorry..." + err);
}
});

A: you solution will work but you will experience a lot performance issues when your table will growth.
What i suggest to you is the following solution:

*

*Add another field to your GlobTable of type integer. This field will be incremental field and will store your row index (let's call this field rowIndex)

*Each time you save a new object to this table make sure you increment this field by using the following command:

object.increment("rowIndex");

*Now your query should look like the following:

var thisRow = Parse.Object.extend(GlobTable);
var query= new Parse.Query(thisRow);
query.equalTo("rowIndex",RowNumberThatINeed);
query.first().then(function(result){
  // do something with the result
},function(error){
  // error handling
});

If you want event better performance you can create index (in MongoDb) on your rowIndex.
In my code snippets i use Promises according to the best practices.
I use first and not find because there will always be one object for this index

redpajama_set_name: RedPajamaStackExchange


text:
<?xml version="1.0" encoding="utf-8"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">

    <title>ActiveRecord::ConnectionAdapters::PostgreSQLAdapter</title>
    <meta http-equiv="Content-Type" content="text/html; charset=UTF-8" />
    <link rel="stylesheet" href="../../../css/reset.css" type="text/css" media="screen" />
<link rel="stylesheet" href="../../../css/main.css" type="text/css" media="screen" />
<link rel="stylesheet" href="../../../css/github.css" type="text/css" media="screen" />

            Ruby on Rails 4.2.1

            Class
            ActiveRecord::ConnectionAdapters::PostgreSQLAdapter

                <

                    ActiveRecord::ConnectionAdapters::AbstractAdapter

/Users/tony/.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb

The PostgreSQL adapter works with the native
C (bitbucket.org/ged/ruby-pg)
driver.

Options:

:host - Defaults to a Unix-domain socket in /tmp. On machines
without Unix-domain sockets, the default is to connect to localhost.

:port - Defaults to 5432.

:username - Defaults to be the same as the operating system
name of the user running the application.

:password - Password to be used if the server demands password
authentication.

:database - Defaults to be the same as the user name.

:schema_search_path - An optional schema search path for the
connection given as a string of comma-separated schema names. This is
backward-compatible with the :schema_order option.

:encoding - An optional client encoding that is used in a
SET client_encoding TO <encoding> call on the
connection.

:min_messages - An optional client min messages that is used
in a SET client_min_messages TO <min_messages> call on
the connection.

:variables - An optional hash of additional parameters that
will be used in SET SESSION key = val calls on the connection.

:insert_returning - An optional boolean to control the use of
RETURNING for INSERT statements defaults to true.

Any further options are used as connection parameters to libpq. See www.postgresql.org/docs/9.1/static/libpq-connect.html
for the list of parameters.

In addition, default connection parameters of libpq can be set per
environment variables. See www.postgresql.org/docs/9.1/static/libpq-envars.html
.

Namespace

          CLASS
          ActiveRecord::ConnectionAdapters::PostgreSQLAdapter::StatementPool

Methods

A

                active?

C

                clear_cache!

D

                disable_extension,

                disconnect!

E

                enable_extension,

                extension_enabled?,

                extensions

I

                index_algorithms

M

                migration_keys

N

                new

P

                postgresql_version

R

                reconnect!,

                reset!

S

                session_auth=,

                set_standard_conforming_strings,

                supports_ddl_transactions?,

                supports_explain?,

                supports_extensions?,

                supports_foreign_keys?,

                supports_index_sort_order?,

                supports_materialized_views?,

                supports_migrations?,

                supports_partial_index?,

                supports_ranges?,

                supports_statement_cache?,

                supports_transaction_isolation?,

                supports_views?

T

                table_alias_length,

                translate_exception,

                truncate

U

                use_insert_returning?

V

                valid_type?

Included Modules

              ActiveRecord::ConnectionAdapters::PostgreSQL::Quoting

              ActiveRecord::ConnectionAdapters::PostgreSQL::SchemaStatements

              ActiveRecord::ConnectionAdapters::PostgreSQL::DatabaseStatements

Constants

            ADAPTER_NAME
            =
            'PostgreSQL'.freeze

            NATIVE_DATABASE_TYPES
            =
            {
primary_key: "serial primary key",
bigserial: "bigserial",
string:      { name: "character varying" },
text:        { name: "text" },
integer:     { name: "integer" },
float:       { name: "float" },
decimal:     { name: "decimal" },
datetime:    { name: "timestamp" },
time:        { name: "time" },
date:        { name: "date" },
daterange:   { name: "daterange" },
numrange:    { name: "numrange" },
tsrange:     { name: "tsrange" },
tstzrange:   { name: "tstzrange" },
int4range:   { name: "int4range" },
int8range:   { name: "int8range" },
binary:      { name: "bytea" },
boolean:     { name: "boolean" },
bigint:      { name: "bigint" },
xml:         { name: "xml" },
tsvector:    { name: "tsvector" },
hstore:      { name: "hstore" },
inet:        { name: "inet" },
cidr:        { name: "cidr" },
macaddr:     { name: "macaddr" },
uuid:        { name: "uuid" },
json:        { name: "json" },
jsonb:       { name: "jsonb" },
ltree:       { name: "ltree" },
citext:      { name: "citext" },
point:       { name: "point" },
bit:         { name: "bit" },
bit_varying: { name: "bit varying" },
money:       { name: "money" },
}

            OID
            =
            PostgreSQL::OID #:nodoc:

            OPERATION_ALIASES
            =
            { # :nodoc:
"maximum" => "max",
"minimum" => "min",
"average" => "avg",
}

            FOREIGN_KEY_VIOLATION
            =
            "23503"

See www.postgresql.org/docs/9.1/static/errcodes-appendix.html

            UNIQUE_VIOLATION
            =
            "23505"

            FEATURE_NOT_SUPPORTED
            =
            "0A000"

Class Public methods

              new(connection, logger, connection_parameters, config)

            Link

Initializes and connects a PostgreSQL
adapter.

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 226
def initialize(connection, logger, connection_parameters, config)
  super(connection, logger)

  @visitor = Arel::Visitors::PostgreSQL.new self
  if self.class.type_cast_config_to_boolean(config.fetch(:prepared_statements) { true })
    @prepared_statements = true
  else
    @prepared_statements = false
  end

  @connection_parameters, @config = connection_parameters, config

  # @local_tz is initialized as nil to avoid warnings when connect tries to use it
  @local_tz = nil
  @table_alias_length = nil

  connect
  @statements = StatementPool.new @connection,
                                  self.class.type_cast_config_to_integer(config.fetch(:statement_limit) { 1000 })

  if postgresql_version < 80200
    raise "Your version of PostgreSQL (#{postgresql_version}) is too old, please upgrade!"
  end

  @type_map = Type::HashLookupTypeMap.new
  initialize_type_map(type_map)
  @local_tz = execute('SHOW TIME ZONE', 'SCHEMA').first["TimeZone"]
  @use_insert_returning = @config.key?(:insert_returning) ? self.class.type_cast_config_to_boolean(@config[:insert_returning]) : true
end

Instance Public methods

              active?()

            Link

Is this connection alive and ready for queries?

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 266
def active?
  @connection.query 'SELECT 1'
  true
rescue PGError
  false
end

              clear_cache!()

            Link

Clears the prepared statements cache.

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 257
def clear_cache!
  @statements.clear
end

              disable_extension(name)

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 347
def disable_extension(name)
  exec_query("DROP EXTENSION IF EXISTS \"#{name}\" CASCADE").tap {
    reload_type_map
  }
end

              disconnect!()

            Link

Disconnects from the database if already connected. Otherwise, this method
does nothing.

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 292
def disconnect!
  super
  @connection.close rescue nil
end

              enable_extension(name)

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 341
def enable_extension(name)
  exec_query("CREATE EXTENSION IF NOT EXISTS \"#{name}\"").tap {
    reload_type_map
  }
end

              extension_enabled?(name)

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 353
def extension_enabled?(name)
  if supports_extensions?
    res = exec_query "SELECT EXISTS(SELECT * FROM pg_available_extensions WHERE name = '#{name}' AND installed_version IS NOT NULL) as enabled",
      'SCHEMA'
    res.cast_values.first
  end
end

              extensions()

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 361
def extensions
  if supports_extensions?
    exec_query("SELECT extname from pg_extension", "SCHEMA").cast_values
  else
    super
  end
end

              index_algorithms()

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 168
def index_algorithms
  { concurrently: 'CONCURRENTLY' }
end

              migration_keys()

            Link

Adds :array as a valid migration key

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 138
def migration_keys
  super + [:array]
end

              reconnect!()

            Link

Close then reopen the connection.

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 274
def reconnect!
  super
  @connection.reset
  configure_connection
end

              reset!()

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 280
def reset!
  clear_cache!
  reset_transaction
  unless @connection.transaction_status == ::PG::PQTRANS_IDLE
    @connection.query 'ROLLBACK'
  end
  @connection.query 'DISCARD ALL'
  configure_connection
end

              session_auth=(user)

            Link

Set the authorized user for this session

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 375
def session_auth=(user)
  clear_cache!
  exec_query "SET SESSION AUTHORIZATION #{user}"
end

              set_standard_conforming_strings()

            Link

Enable standard-conforming strings if available.

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 312
def set_standard_conforming_strings
  old, self.client_min_messages = client_min_messages, 'panic'
  execute('SET standard_conforming_strings = on', 'SCHEMA') rescue nil
ensure
  self.client_min_messages = old
end

              supports_ddl_transactions?()

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 319
def supports_ddl_transactions?
  true
end

              supports_explain?()

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 323
def supports_explain?
  true
end

              supports_extensions?()

            Link

Returns true if pg > 9.1

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 328
def supports_extensions?
  postgresql_version >= 90100
end

              supports_foreign_keys?()

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 160
def supports_foreign_keys?
  true
end

              supports_index_sort_order?()

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 148
def supports_index_sort_order?
  true
end

              supports_materialized_views?()

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 337
def supports_materialized_views?
  postgresql_version >= 90300
end

              supports_migrations?()

            Link

Returns true, since this connection adapter supports migrations.

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 302
def supports_migrations?
  true
end

              supports_partial_index?()

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 152
def supports_partial_index?
  true
end

              supports_ranges?()

            Link

Range datatypes weren't introduced until
PostgreSQL 9.2

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 333
def supports_ranges?
  postgresql_version >= 90200
end

              supports_statement_cache?()

            Link

Returns true, since this connection adapter supports prepared
statement caching.

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 144
def supports_statement_cache?
  true
end

              supports_transaction_isolation?()

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 156
def supports_transaction_isolation?
  true
end

              supports_views?()

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 164
def supports_views?
  true
end

              table_alias_length()

            Link

Returns the configured supported identifier length supported by PostgreSQL

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 370
def table_alias_length
  @table_alias_length ||= query('SHOW max_identifier_length', 'SCHEMA')[0][0].to_i
end

              truncate(table_name, name = nil)

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 261
def truncate(table_name, name = nil)
  exec_query "TRUNCATE TABLE #{quote_table_name(table_name)}", name, []
end

              use_insert_returning?()

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 380
def use_insert_returning?
  @use_insert_returning
end

              valid_type?(type)

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 384
def valid_type?(type)
  !native_database_types[type].nil?
end

Instance Protected methods

              postgresql_version()

            Link

Returns the version of the connected PostgreSQL server.

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 410
def postgresql_version
  @connection.server_version
end

              translate_exception(exception, message)

            Link

                Source:
                show

# File ../../../.rbenv/versions/2.2.1/lib/ruby/gems/2.2.0/gems/activerecord-4.2.1/lib/active_record/connection_adapters/postgresql_adapter.rb, line 418
def translate_exception(exception, message)
  return exception unless exception.respond_to?(:result)

  case exception.result.try(:error_field, PGresult::PG_DIAG_SQLSTATE)
  when UNIQUE_VIOLATION
    RecordNotUnique.new(message, exception)
  when FOREIGN_KEY_VIOLATION
    InvalidForeignKey.new(message, exception)
  else
    super
  end
end

redpajama_set_name: RedPajamaGithub