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Spring skiing ain't so bad, that is if you like POWDER I mean. A week of snow pounded in the southern valley and there was plenty left by the time we got there this weekend. A MRG-esque place near Italy. Well I may have found it, but with one glaring difference. No trees. Oh well, you'll have to settle for 0 crowds, slow lifts, steep chutes, and powder, powder, powder. The place is called Super Saint Bernard and is at the base of the Swiss side of the Great Saint Bernard Pass. Italy is just over the back of the mountain. In fact there is a off piste run that will take over the Italian border where a bus is waiting to drive you 14km back to the Swiss side of the Saint Bernard Tunnel.

This place is less a ski resort than a ski lift. There is only one, slow, old gondola lift for the 2 (That's right 2) main pistes and a poma to service the lower angle novice slope. Lift serviced elevation is around 1000 meters with a base at 1900 meters. The 2 pistes run down two distinct valleys. The first piste shares the same valley as the gondi. There are several chute choices to skiers left that very from around 35 deg. More steep terrain is accessed via a catwalk to skiers left which passes above the first few chutes. This short traverse gives access to the entire ridge line between the two valleys that make up the area. Without using the catwalk the other valley can be accessed via a tunnel which cuts a few hundred meters straight through the mountain. Snow is imported into the tunnel so that it's possible to ski the entire length. The view from the second valley is absolutely stunning. The Mount Blanc is clearly visible to the south west as well as the entire Col de Great Saint Bernard, including a large refuge which famous for being the origin of Saint Bernard dogs with the barrels of booze strapped to their neck.

I skied several great chutes with slightly less than fresh tracks near the lift for a warm up around 8:30. The plan was to bag the really good stuff in the morning so there wasn't much time wait. By 9:00 I was crossing the catwalk to take a completely fresh line on the northern slope of the main ridge. Swooping arc turns in knee deep powder were in order and I made about 40 of them. One of the best runs of the season. Winds were a bit gusty in the afternoon. I took some excellent runs playing in the drifts on the lower angle slopes of the second valley. On the lower groomed pistes the wind would kick up the spin drift which would whip around 6 inches off the snow. I enjoyed building up some speed to turn fast swooping arcs through clouds that swirled around my ankles. I had almost
the illusion of free fall.

Those of you coming to Europe for some spring skiing should be pleasantly surprised. Winter is still putting up a good fight in the high mountains. There was more snow up there than there was 2 weeks ago and more snow is coming is coming this week.


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According to Leonard J. Davis, author of Obsession (a book about individuals with severe preoccupations with others), the notion of codependence comes from early members of Alcoholics Anonymous who visualized that an alcoholic's family and friends directly or indirectly support (enable) the person's addiction to alcohol. It was eventually broadened to indicate how individuals in relationships may become enmeshed and dependent on one another for approval and emotional support in both a functional and dysfunctional manner.
This article will discuss some of the characteristics of the so-called codependent relationship between couples where at least one individual has a substance use disorder, as well as issues with the notion of codependency.
Making one's personal needs secondary to the person with whom they are involved, such as a romantic partner, spouse, family member, etc.
The individual with alcohol use disorder will often attempt to restrict their use of alcohol to specific situations or times of the day. This presents the illusion that the person is in control of their drinking. The spouse or partner of such an individual gives that person their personal space and time with alcohol and at the same time justifies the behavior as being "normal" for that person.
The codependent relationship is one of dishonesty and denial. The codependent partner of an alcoholic will often be called upon to cover for the individual when their alcohol use interferes with issues of daily living, such as not going to work due to a hangover after being intoxicated (the partner will call in sick for that person), hold off paying certain bills when the individual spends too much money on alcohol, supply the individual with alcohol when they are depressed, etc. These actions help both parties deny the real problem.
The codependent partner may remain under the impression that their usefulness and self-worth are bolstered by supporting their partner, relieving their partner's discomfort, solving their partner's problems, and by pleasing their partner. These feelings and activities are enmeshed in the individual's substance use disorder and any other psychological issues, such that the realization that substance abuse is dysfunctional is never touched upon to a significant extent.
The individuals in a codependent relationship will continue to support the notion that these behaviors are "normal" for them, even though they may not be normal for other people. They will make an exception for themselves and excuse away the dysfunctional aspects of the substance use disorder while at the same time supporting one another.
Because codependent relationships are intense and unstable, there often periods of aggressive disagreement and even verbal and/or physical abuse interspersed with periods of caring and affection.
People in codependent relationships often begin to feel responsible for the other person, and both parties in the relationship attempt to control each other in such a manner to maintain the illusion of a functional family unit despite issues with denial, dishonesty, and unstable relationships.
The codependent partner of an individual with a substance use disorder will inevitably be focused on the other person to the point of not really understanding their own feelings. They may be overly compliant at times to the point of sacrificing their own wants and needs for the other person. They may have a poorly developed sense of self, display problems with openness and intimacy, and feel safety and security in manipulating and controlling others. The codependent partner of a substance abuser constantly alternates between the role of rescuer, personal confidant, and supporter of the individual, and despising and loathing the person.
There several treatment options for individuals who are codependent. One option is the use of Cognitive Behavioral Therapy (CBT) to identify the individual's irrational thinking processes, including their beliefs, self-view, attitudes toward others, and approach to maintaining their relationships. CBT can strengthen the person's own sense of self-identity, challenge their irrational beliefs about their own self-worth, and challenge their beliefs about aspects of their relationship and substance abuse.
Family therapy or couples therapy using CBT techniques can also be applied to individuals who are in a codependent relationship in order to get them to adopt the realistic approach to the nature of their relationship, define their interactions in a mutually satisfying way, and allow both partners to develop a sense of self and a feeling of self-worth. These types of interventions are most likely relatively common in family and marriage therapy situations, and it may well be that the term codependent is not even used by the therapist to describe the situation in a good number of these cases.
A group known as Codependents Anonymous follows a 12-Step approach to codependency similar to the 12-Step approach used in Alcoholics Anonymous, Narcotics Anonymous, etc. Other treatment approaches may include medication management for individuals who have serious issues with depression, anxiety, and personality disorders.
The substance abuse aspect of the treatment for the individual in the codependent relationship with a substance use disorder would follow the traditional standard substance use disorder treatment approach. It would consist of withdrawal management if needed, counseling and therapy, social support, family support, and long-term aftercare.
Despite what some sources claim, codependency is not a recognized psychological or psychiatric disorder. The actual list of the symptoms of codependency are quite varied and in many cases considered to be questionable in terms of their clinical utility. There was a movement to have codependency listed as codependency personality disorder in an earlier version of the Diagnostic and Statistical Manual of Mental Disorders (DSM-III-R); however, codependency did not meet the formal criteria for inclusion as a formal disorder for the diagnostic manual. They were not enough well-designed research investigations to identify codependency as any type of syndrome.
The list of symptoms above describing the aspects of codependency do coincide with other known personality disorders that are currently in the Diagnostic and Statistical Manual of Mental Disorders – Fifth Edition, such as dependent personality disorder and borderline personality disorder; however, there is no formal diagnosis of codependency or a codependency personality disorder (codependency disorder) in any of the accepted diagnostic manuals used in the United States.
Instead, codependency may exist as an aspect of relationships that occur in individuals who are diagnosed with other types of psychological/psychiatric disorders, such as borderline personality disorder or dependent personality disorder. In other cases, it may represent a subclinical style of interacting in relationships that is based on a number of other variables, such as upbringing, expectations, and past experience with others in relationships. This means that individuals deemed as being codependent may display certain types of dysfunctional behaviors, but these are not considered to be consistent enough across relatively large numbers of individuals to warrant a formal diagnostic category.


The Budget Swag is the smallest swag in the Outback range. It is a small bodied swag so that in packs in a tight roll, ideal for traveling on horses or motorbikes. The Budget Swag is also recommended for children.
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Sometimes I wonder if NWN code decides to do its own thing on occasion. For while the game went reasonably smoothly tonight, there was, however, one incident when a Citadel Exterminator appeared to be set as indestructible and not take any damage. Why this happened, I am still not certain. Fortunately, as DM I was able to ensure the problem was fixed, but not after it caused some problems with attacking the PCs. In hindsight, I wonder if it may have been something I did as a DM, but I don't recall doing anything in particular. I also went through the scripts after the session and found one script that would set anything that passed through it as "plot". Why I had this I have no idea, but I have since removed the code and made it an update in patch v1.05. I also ensured that if a PC carried more than one of the same type of bag that they could no longer take advantage of an exploit whereby items would not be removed from a second or third bag (plus) of the same type.
The heroes have managed to make gradual process through the sewers and have finally gained access to the Pump Control Station, where they have now recognised that fixing the Access Control Panels must be their next priority.
"There was one other feature they quickly came to recognize in these tunnels, and that was small caged access elevators that lead to lower sections of sewers. As they continued to explore this region, they found a number of them that led to other sections, and others that had failed, which meant the heroes had to find other ways to reach the various sections. In all the sewers were a maze of tunnels and everywhere required time to search properly." Read the full synopsis here.


Check out the historic Lake Valley Townsite, a "ghost town" managed by the Bureau of Land Management. While in the area, take a 48-mile drive along the Lake Valley Backcountry Byway. The mining town of Lake Valley was founded in 1878 after silver was discovered. Almost overnight, the small frontier town blossomed into a major settlement with a population of 4,000 people. Today, silver mining has played out and all that remains is a ghost town. BLM has restored the schoolhouse and chapel. The restored schoolhouse provides a glimpse of what schooling in a rural area was like in the early 20th century. Other buildings in the town site have been stabilized to slow further deterioration. There also is a self-guided, interpretive walking tour. A toilet is located near the schoolhouse, and drinking water is available. A meandering 48-mile drive on paved roads takes visitors through ranching and mining country and past the ruins of the 1880s mining town of Lake Valley. The Lake Valley Backcountry Byway is nestled between the Mimbres and Caballo Mountains and the Cooke's Range in southwestern New Mexico and offers spectacular scenic views. Rich in history and scenery, the Byway offers an outstanding trip for travelers with an hour to spare. Activities include scenic driving, watchable wildlife, historic interpretation, and hiking.


text:
Az 1009 Sirene (ideiglenes jelöléssel 1923 PE) egy marsközeli kisbolygó. Karl Wilhelm Reinmuth fedezte fel 1923. október 31-én, Heidelbergben.

Kapcsolódó szócikkek
 Kisbolygók listája

Jegyzetek

A Naprendszer kisbolygói

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text:
Q: Error app/main.js 404 Not Found on Azure My angular2 application deployment is clean but when i try to access the url to the same i get the error : app/main.js 404 (Not Found). Also I see no javascript files being created on the go on KUDU. The typescripts files are not compiled as I could make of it. Should i build ts to js on local and then push the js files also on git? Could anyone please suggest what is required to do so.

PS: My web.config file in root directory is as follows:
<configuration>
    <system.web>
        <customErrors mode="Off" />
        <compilation debug="true" targetFramework="4.5">
        </compilation>
    </system.web>
</configuration>

My Package.json is :
{
  "name": "angular-quickstart",
  "version": "1.0.0",
  "engines": {
    "node": "6.1.0",
    "npm": "3.8.6"
  },
  "description": "QuickStart package.json from the documentation, supplemented with testing support",
  "scripts": {
    "start": "tsc && concurrently \"tsc -w\" \"lite-server\" ",
    "docker-build": "docker build -t ng2-quickstart .",
    "docker": "npm run docker-build && docker run -it --rm -p 3000:3000 -p 3001:3001 ng2-quickstart",
    "pree2e": "npm run webdriver:update",
    "e2e": "tsc && concurrently \"http-server -s\" \"protractor protractor.config.js\" --kill-others --success first",
    "lint": "tslint ./app/**/*.ts -t verbose",
    "lite": "node_modules\\.bin\\lite-server",
    "postinstall": "typings install && tsc",
    "test": "tsc && concurrently \"tsc -w\" \"karma start karma.conf.js\"",
    "test-once": "tsc && karma start karma.conf.js --single-run",
    "tsc": "node_modules\\.bin\\tsc",
    "concurrently": "node_modules\\.bin\\concurrently",
    "tsc:w": "node_modules\\.bin\\tsc -w",
    "typings": "node_modules\\.bin\\typings",
    "webdriver:update": "webdriver-manager update"
  },
  "keywords": [],
  "author": "",
  "licenses": [
    {
      "type": "MIT",
      "url": "https://github.com/angular/angular.io/blob/master/LICENSE"
    }
  ],
  "dependencies": {
    "@angular/common": "~2.1.0",
    "@angular/compiler": "~2.1.0",
    "@angular/core": "~2.1.0",
    "@angular/forms": "~2.1.0",
    "@angular/http": "~2.1.0",
    "@angular/platform-browser": "~2.1.0",
    "@angular/platform-browser-dynamic": "~2.1.0",
    "@angular/router": "~3.1.0",
    "@angular/upgrade": "~2.1.0",

    "angular-in-memory-web-api": "~0.1.5",
    "bootstrap": "^3.3.7",
    "ng2-bootstrap": "^1.1.14",
    "moment": "^2.15.2",
    "firebase": "^3.5.2",
    "angularfire2": "^2.0.0-beta.5",
    "systemjs": "0.19.39",
    "core-js": "^2.4.1",
    "reflect-metadata": "^0.1.8",
    "rxjs": "5.0.0-beta.12",
    "zone.js": "^0.6.25",
    "concurrently": "^3.0.0",
    "lite-server": "^2.2.2",
    "typescript": "^2.0.3",
    "typings": "^1.4.0"
  },
  "devDependencies": {
    "concurrently": "^3.0.0",
    "lite-server": "^2.2.2",
    "typescript": "^2.0.3",
    "typings": "^1.4.0",

    "canonical-path": "0.0.2",
    "http-server": "^0.9.0",
    "tslint": "^3.15.1",
    "lodash": "^4.16.2",
    "jasmine-core": "~2.5.2",
    "karma": "^1.3.0",
    "karma-chrome-launcher": "^2.0.0",
    "karma-cli": "^1.0.1",
    "karma-htmlfile-reporter": "^0.3.4",
    "karma-jasmine": "^1.0.2",
    "karma-jasmine-html-reporter": "^0.2.2",
    "protractor": "^3.3.0",
    "rimraf": "^2.5.4"
  },
  "repository": {}
}

If I modify the postinstall command to this I get the ts files compiled to js on kudu but get deployment errors.:
"postinstall": "typings install && tsc"

I get below error:

A: By default, Azure Web Apps' deployment task uses npm install --production command to install the dependencies in your package.json, which will skips all the dependencies configured in devDependencies section.
So first, you can move all the dependencies in devDependencies section to dependencies section.
As your ts files can be compiled into javascript after the node.js modules installation finished during the deployment task,
 you could use "postinstall": "typings install && tsc" instead of  "postinstall": "typings install && tsc" to achieve this.
Any further concern, please feel free to let me know.

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text:
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Poets and Witnesses: A Conversation between Bouchra Khalili and Jackie Wang
Bouchra Khalili, Foreign Office, 2015. Digital film, 22'. From Foreign Office: mixed media installation comprising a digital film, 15 c-prints, and one silkscreen print. Courtesy of the artist and Mor Charpentier, Paris.
This interview originally appeared in Radical Ally, a publication created by Moroccan French artist Bouchra Khalili and co-edited with Xavier Nueno and Leon Muñoz Santini for her 2019 exhibition "Bouchra Khalili: Poets and Witnesses." The project included Khalili's film Twenty-Two Hours, which tells the story of French writer and activist Jean Genet's 1970 visit to the US in support of the Black Panther Party.
Like Twenty-Two Hours, this conversation between Khalili and scholar Jackie Wang reflects on the activism of the Black Panthers and storytelling's role as a "living archive," insofar as it transmits knowledge from one generation to the next. Khalili notes that proponents of the Black Power movement "spoke their ideas through their publications" and traces the genealogy of international solidarity to North Africa and among migrant communities in Europe. Growing up in Morocco, she remembers her parents narrating their readings of the cultural magazine Souffles (1966–72), particularly the special issues on the Black Panthers and movements of liberation in the Global South, which she later channeled into her work as an artist—an example of how the Party's platform transcended time and geography.
This interview is reprinted online in condensed form with permission from Gato Negro Ediciones.
Free print copies of the entire Radical Ally publication are available at the checkout counters in the MFA's Linde Family Wing Bookstore and Shop and all MoMA bookstores in New York.
Bouchra Khalili, Radical Ally, 2019. Two-color ink on paper. Courtesy of Gato Negro Ediciones.
Jackie Wang:
What I find particularly compelling about your film Twenty-Two Hours is the way that it incorporates archival images, footage, and documents without forcing the material to convey information in a straightforward way. Sometimes images of Jean Genet during his tour with the Black Panthers in 1970 appear on cellphones, as though to remind the viewer of the fragmentary and constructed nature of all attempts to recover history.1 It reminds me that there are other modes of exploring history—more poetic modes—that are, in some ways, more true to history's partiality. What role do archives play in your work, and how, as a filmmaker and artist, is your work different from, or similar to, the work of a historian?
Bouchra Khalili, Twenty-Two Hours, 2018. Digital film, 43'. Courtesy of the artist and Mor Charpentier, Paris.
Bouchra Khalili:
Your question touches a key aspect of my practice—what Italian poet, writer, and filmmaker Pier Paolo Pasolini defined as stylistic magma, the core of his theory of the cinema of poetry. The cinema of poetry is based on a technique of equality, allowing multiple voices to come together, as well as heterogeneous material to combine. I'm referring here to Pasolini because his work in film and poetry, as well as his theoretical writings, had a major influence on me.
When I first encountered Pasolini's concept of the cinema of poetry and stylistic magma, what came immediately to my mind was the dying tradition of Al-Halqa. Al-Halqa is the most ancient form of performing art in Morocco, an art of storytelling probably from the 9th century. The public storyteller performs in open air areas, markets, street corners...but the audience is key here. In Arabic, al-halqa means "the circle," and the storytelling is defined by the position of the audience rather than the narrator. The storyteller performs stories inherited from oral poetry, popular tales, and local history performed in dialect, as well as sacred texts and classical poetry delivered in classical Arabic, often forming social and political parabolas. It is very similar to the Western African tradition of the jeli or griot. The performer is literally a living archive—a nomadic oral public library—going from place to place to share and disseminate the people's knowledge and history.
Somehow, the use of archival material in my work operates similarly: what seems to be archival material is part of that heterogeneous material that participates in the performance of the storytelling. In the Al-Halqa, the audience is not passive, but is free to interrupt, ask questions, interrogate the storyteller—the same way that, in my work, what could be seen as archival material is not silent, but part of a visual material that is subject to examination, combination, and montage in the conceptual meaning of it. What matters is not the archive, but how, as a fragment, it contributes to producing stories that are alive.
Al-Halqa also epitomizes the common practice in Morocco of storytelling as an alternative form of historiography: it is not the one of the history books, drafted by the power to impose its narrative, but the performance of the people's stories and history told by the people and for the people. It is a form of resistance, reclaiming history from the power.
Can you talk a little bit about the narrators Quiana and Vanessa? What was their relationship to the material of the film? How were they cast? What role did they play in shaping the film?
Quiana and Vanessa are two Bostonians, both highly conscious of the major importance of the heritage of the struggle for equality of African Americans and very much aware that equality is still to achieve. They were not cast because I never work on a project with a preconceived idea of a profile. It's more a natural process—all mixed up with life. Of course, it requires time, but for me what mattered above all was the interest of Quiana and Vanessa in the project and their will to literally embody it. From there, we had long conversations around the project, the material, the script—that was actually scripted specifically for them and in conversation with them, as with Doug Miranda. Doug joined the Party in 1969 to quickly become the captain of the Boston chapter of the Black Panther Party, then of the Connecticut chapter. He was such a great organizer and a talented speaker that he was appointed by the BPP headquarters in Oakland to organize the campaign of solidarity with Bobby Seale, who was detained at that time with most of the New Haven chapter. Doug was also in charge of organizing some of Genet's public talks on the East Coast, among them the one in Cambridge in March 1970, only a couple miles away from where Twenty-Two Hours was filmed.
I have here to extend my warmest gratitude to comrades Quiana, Vanessa, and Doug for their dedication to the project, the extraordinary eloquence, artistic and political commitment, and the amazing grace that they shared with me and the viewers. Without them, this project would have been impossible to produce.
This kind of miraculous encounter is basically the core of the collaborative practice that I've developed in the last 15 years: I meet human beings willing to speak for themselves and, at the same time, who are very much conscious that their voices and bodies articulate a collective. In Twenty-Two Hours, Quiana and Vanessa appear at once as storytellers, film editors, historians, and even as the historiographers of their own history. They are not professional performers, but their presence, their voices, the performance of the storytelling, articulated with a practice of film montage (as can be seen in the film), allows [one] to develop a meditation on the role of the storyteller—the civic poet—as a witness to history.
Within this apparatus, a transgenerational conversation develops between Quiana, Vanessa, and Doug. Doug seems to embody the position of the witness, but he's actually the one who transmits the burden of history and allows the lessons of failure and success to be examined and discussed. Eventually, with the burden of history comes the burden to bear witness. Quiana and Vanessa become the witnesses; the same way that, when interrogated by a journalist about his presence in the United States, Genet answered: "I came here to bear witness to the injustices being suffered by the Black Panther Party and the racism suffered by Afro-Americans."
In 1971, Genet issued a statement titled "Appel pour un comité de soutien aux militants politiques noirs emprisonnés" ["Call for a Committee to Support Jailed Black Political Activists"], calling for the immediate release of all détenus politiques (political prisoners), including George Jackson, John Clutchette, and Fleeta Drumgo, collectively known as the Soledad Brothers. Using the rhetoric of Black Power, the statement denounces le système judiciaire raciste (the racist judiciary system) and draws attention to state repression against Black militants. Genet used his connections to the French intelligentsia to mobilize support for Black militants in France and was able to get a number of French intellectuals to sign his statement, including Roland Barthes, Maurice Blanchot, Julia Kristeva, Pierre Guyotat, Jacques Derrida, Marguerite Duras, Philippe Sollers, and many others. Apparently it was also Genet who introduced Michel Foucault to the Black Panthers, and there has been much speculation about how this encounter influenced Foucault's analysis of prisons and his theorization of power. What kind of influence did Black radicals in the United States have on French leftist politics, and what role did Genet play in bringing Black radical thought to France?
In 1971, the movements of liberation in North and sub-Saharan Africa were still fresh in the people's memory. Algeria became independent only a few years before, and among the signatories of Genet's statement in favor of Black militants are signatories of the 1960 "Declaration on the right of insubordination in the Algerian War," such as Maurice Blanchot, Roger Blin, Alain Cuny, Marguerite Duras, Pierre Guyotat, and Jean-Paul Sartre, among others. The support to Vietnamese people was also massive. So French intellectuals obviously identified the BPP as a movement of liberation, mostly because the Panthers identified themselves with colonized people.
I think that one should also keep in mind the impact of May 1968 in France, which actually ended only ten years after, and which gave birth to many radical left-wing organizations.
In 1970, Foucault, Sartre, Vidal-Naquet, Genet, and other intellectuals contributed to found the Groupe d'Information sur les Prisons to support radical left-wing political prisoners in France who were subjects to a fierce repression. Many of them were members of Gauche Prolétarienne, a group of militants who also had a newspaper called La Cause du peuple, supported by Sartre and Foucault, among others (the leader of Gauche Prolétarienne, Benny Levy, would become, shortly after the dissolution of the organization, Sartre's secretary).
So it is hard to answer your question in an univoque way, because it is also a matter of context. As an example, North African immigrants in France were also starting to organize themselves autonomously, first around the Comité Palestine, the Palestinian cause forming a political consensus among the Arab diaspora in France, and shortly after, around the Movement of Arab Workers (MTA) officially founded in 1972, but that started to organize North African immigrants in the aftermath of '68. The Gauche Prolétarienne supported the struggles of the MTA, and Foucault and Genet also took part in some of the demonstrations organized by the MTA.
The Tempest Society (digital film, 2017), which I produced for "documenta 14," took as a departure point Al Assifa, the MTA's agitprop theater, which toured between 1972 and 1978. Foucault strongly supported the theater group as well.
Similarly—and I speak here as the daughter of a North African who was living in Paris at that time—the BPP had a great prestige among Arab workers because to them, they were colonized brothers and sisters struggling for their liberation. They were also very much aware that among the Panthers there were many Black Muslims. So, to North African workers, the Panthers were literally brothers and sisters.
And I won't even mention the presence of the International Section of the Black Panther Party in Algiers between 1969 and '72, which was very well known in North Africa. The legendary and very influential Moroccan cultural magazine Souffles published in 1969 a series of enthusiastic papers about the International Section, which demonstrates the support to the BPP among former colonized populations in North and sub-Saharan Africa.
The International Section is actually extensively mentioned in my Foreign Office (mixed media, 2015), produced in Algiers, and that goes back to the internationalist era in North Africa in the aftermath of the independence.
So, for French intellectuals and artists, various struggles—the BPP, Vietnam, political prisoners in France, immigrant workers' struggles—were strongly connected to each other. And to go back to Foucault, the fact that he taught at the University of Vincennes in Saint-Denis certainly had a huge influence on his politicization: Vincennes was a major meeting point for political organizations, including immigrant groups. And his encounter with Genet around '69–'70 was definitely instrumental.
The same way, Genet influenced the position of the BPP with regards to the LGBT revolutionary movement that conducted Huey Newton to publish a major statement in August 1970 in the BPP newspaper that starts like this: "Whatever your personal opinions and your insecurities about homosexuality and the various liberation movements among homosexuals and women (and I speak of the homosexuals and women as oppressed groups), we should try to unite with them in a revolutionary fashion." This statement literally opened a political space for allyship between various oppressed groups in the United States.
So eventually I think that the intellectual and political climate allowed encounters that would have seemed impossible before: the BPP influencing white intellectuals, African and Asian struggles for independence influencing the BPP, immigrant struggles in France connecting themselves with the BPP, and other movements of liberation. It is not by chance that Jean-Luc Godard's movie Here and Elsewhere is quoted in Twenty-Two Hours, which starts like this: "here"—a French middle-class apartment, and "elsewhere"—the Palestinian Revolution. Learning to see here, to hear elsewhere.
Eventually, this dialogue between various spheres here and elsewhere is also one form of international solidarity.
So, I would say that what my work aims to investigate, and mostly at a moment when nationalism and racism are reaching an unseen level in recent history, is the urgency to rethink egalitarian forms of civic belonging—what I eventually call radical citizenship.
And that's what Twenty-Two Hours investigates as well: the specter of equality and collective emancipation that is still haunting us and the urgent need to create forms of allyship.
1In 1970, members of the Black Panther Party met with Jean Genet in Paris and requested solidarity with their movement. He responsed by traveling to the US and speaking at numerous university rallies and to the press between March and May, advocating for the Panther's cause. His subsequent public statements in support of the Panthers are collected in his posthumous book The Declared Enemy: Texts and Interviews (2003). In his book Prisoner of Love (1986), Genet understood their struggle as akin to that of the Palestinian resistance, in which he also directly participated. (Caygill, Howard. "Philosophy and the Black Panthers." Radical Philosophy, May/June 2013.)
Bouchra Khalili is a Moroccan-born, Berlin-based visual artist working with film, video, installation, photography, and prints. Her exhibition "Bouchra Khalili: Poets and Witnesses" was on view at the MFA from March 21 to August 25, 2019.
Jackie Wang is a PhD candidate in the Department of African and African American Studies at Harvard University. Her latest book, The Sunflower Cast a Spell To Save Us From The Void (Nightboat Books), is a 2021 National Book Awards Finalist for poetry.

redpajama_set_name: RedPajamaCommonCrawl


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Europe has a golden opportunity to re-ignite growth by investing in the transition to a low-carbon economy.
With interest rates at low levels, relatively high unemployment and liquidity in the private sector, governments can unleash economic activity through sound and credible policies that encourage investment in its energy infrastructure.
Over the next four decades, Europe, like all parts of the world, must, if future prosperity is to be protected from the threats of a hostile physical environment, turn off a high-carbon economic path that is heavily dependent on oil, coal and gas. It must instead create a new sustainable growth story built on clean sources of energy.
The volatility in the price of fossil fuels that have to be imported from outside Europe have provided serious obstacles to growth, creating uncertainty and added costs for households, governments and businesses. And a medium-term strategy based on energy with high-carbon emissions cannot be a plausible assumption for European firms and households given the risks involved and the trajectory, albeit slow, of national and international policy.
Low-carbon growth is the only credible medium-term growth strategy. And a time of depressed economies is exactly the time to invest in the growth story of the future.
But the private sector will invest only if it has confidence in the stability and consistency of public policy. Dither and delay by governments create policy risk that deters investment. Now is the time for European governments to lay out a clear vision for a low-carbon economy, with clear policies to realise it.
They should start by setting a goal of decarbonising the European power sector by the 2030s. We already have most of the technologies to achieve this. Fossil fuels can still play a role if there is rapid development and deployment of carbon capture and storage and gas, in place of coal, may be a useful transition strategy. Europe can make itself more energy-secure by drawing on a much more diverse set of power sources.
And all European countries can enjoy the benefits of, say, solar power generated in southern Europe or wind energy from the North Sea, if there are better connections between national power grids. A truly European super-grid would allow a much more efficient system of energy generation, transmission and use. It could, for instance, provide a more secure source of power for those countries worried about the supply of gas from outside Europe and enhance both the management of intermittency and the promotion of energy efficiency.
A decarbonised power sector in Europe would open up the possibility of accelerating the expansion of low-carbon transport, with cars and trains powered by clean electricity.
All this is possible if European governments use public policy to tackle the multiple market failures that hold back the development of low-carbon technologies and promote the private sector investment. It is that investment which will be the central driver of growth and change.
The European Union Emissions Trading System is helping to create a price on carbon but has been weakened by policy indecisiveness associated in part with the recession and flawed economic analysis of growth opportunities. All countries should introduce policies that create a strong carbon price across their economies to ensure that the price of fossil fuels properly takes into account the greenhouse gas pollution that they create.
But change on the scale required will not come from a carbon price alone. Other measures are also needed to overcome the market failures that, for instance, limit access to networks, or hold back research and development, or deter long-term investment finance.
To achieve this will require high quality analysis and skilful policy-making. It will also require political will.
There was a time when the European Union was recognised across the world as an example of what could be achieved through greater co-operation and collective leadership.
However, the economic crisis appears to have robbed the European Union of its confidence and ability to deal with problems. It once was a leader on international climate policy, but that risks being lost to division and muddle, while others, such as China, are now showing the way forward. With President Obama's strong speech at the end of June and action in its cities and states, the USA is also starting to move.
European leaders must recognise that they can chart a path out of the current malaise by acting strongly to boost sustainable growth. The low-carbon energy and industrial revolution offers real prospects for the creativity and entrepreneurship that can drive growth, energy security and a cleaner environment. The history of past waves of technological change points to two or three decades of strong investment, innovation and growth.
As the world prepares to agree a new international climate change treaty in Paris in 2015, Europe can once again seize the initiative and by embracing the transition to low-carbon growth, can both set an example to its partners and competitors among both rich and developing countries and capture the low-carbon markets of the future.
And it will usher in a new era of economic prosperity for the people of Europe while exercising the environmental responsibility necessary to offer future generations a real opportunity for a brighter, more dynamic, cleaner and more attractive future.
This article was first published by 'Les Echos'.


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Nel periodo tra le edizioni della Coppa del Mondo di rugby del 1999 e del 2003, la nazionale di rugby XV della Francia si è recata varie volte in tour oltremare.

Nel 2001 si recano in tour in Sudafrica, dove colgono un prestigioso successo e in Nuova Zelanda.

 2001
 2001


Intellasia East Asia News - Why Vietnam for the second Trump-Kim summit?
But unlike Pyongyang, Hanoi now counts Washington among its closest allies, emerging from the ravages of war to become one of the fastest growing economies in Asiaand one of the most diplomatically savvy.
The last top North Korean leader to visit Vietnam was Kim Jong Un's grandfather Kim Il Sung in 1958, though several senior officials have visited since then.
Kim's trip to Vietnamit will be his firstcould also be a chance for him to learn from Vietnam's post-war economic transformation.
Vietnam might also be a strategically important location for the US, which is currently locked in a trade war with Chinaone of North Korea's closest allies.


When I was a kid, my family didn't own a television at all for a few years there. There were other parts of my childhood when we owned a TV but didn't have cable. The handful of channels that we could watch for free during those years almost never had science fiction reruns or content of any kind, although I did eagerly watch it whenever I could find it.
We also rarely went to the movie theatre until I was well into my teens, so I hadn't seen a lot of well-known films in general by the time I grew up.
I've caught up on many of the science fiction classics since then, but there are still quite a few of them that I haven't gotten around to checking out yet.
Today I'm going to be listing as many of the ones I haven't seen as I can think of. Some of them have since been remade, so I'm including the year they came originally came out if there's a newer version of it that I recognized. Often there are so many changes from the original to the remake that it's almost as though we're talking about two separate franchises.
Next week, I'll be publishing a similar post about fantasy films. The lists for both categories were so long that I thought they each deserved their own post.
Will I ever watch the shows on this list? I have no idea! My current to-watch list is so long that for now I'm going to continue focusing on more modern films, but it might be fun to catch up on the old ones someday as well.
I was going to add the Alien and Predator series to this list, too, but I can't remember for sure if I've seen any of them or not. They're so well-known in pop culture that I know their basic plots even though I don't know which of the films in either of these series I've actually seen.
What classic science fiction films have you never seen? On a humorous note, which classic science fiction films can you not remember if you've watched but know a few things about anyway?
I haven't seen all of Alien. I watched it right up to that moment when… Then I couldn't watch any more.
When I googled 2001, to see when it first came out, I saw that there are 50th anniversary showings near me next week. How time flies. I think I first saw it in 1971, and I still have no idea what most of it's about.
Wow, I never would have guessed that 2001 was made nearly 50 years ago. I wonder how it's held up over the years?
Would you say that Alien was a gory film?
Yes, I would say that Alien is a gory film. That's why I stopped watching at the point the gore started.
I should think 2001 holds up very well. It's probably ten or more years since I've seen it, so I can't be certain.
I've never seen a lot of these either. I do know the plots of most of them though. I've only seen the first Alien (very good) and the prequel Prometheus (not so good).
I have seen the new (live action) version of Ghost in the Shell, and actually thought it was quite good, although I know it got a lot of bad reviews.
That's good to know. What did you like most about Ghost in the Shell and Alien?
As for Ghost in the Shell, I liked the interaction between the protagonist and her friend/comrade Batou. The actors did a good job conveying their friendship just through expressions and body language. (Since it's an action movie, there wasn't much time for anything else.) I always like little touches like that in movies.


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28 June 1832 c. 151 4 Stat. 550
By genealogy-quest | 28 June 1832 - 10:29 pm | 30 April 2016 Pension and Bounty Land Acts
CHAP. CLI. – An Act further to extend the pension heretofore granted to the widows of persons killed or who died in the naval service.
Be it enacted by the Senate and House of representatives of the United States of America, in Congress assembled, That in all cases where provision has been made by law, for the five years' half-pay to widows and children of officers, seamen, and marines, who were killed in battle, or who died in the naval service of the United States; and, also, in all cases where provision has been made for extending the term for five years, in addition to any term of five years, the said provision shall be, and is hereby, further extended for an additional term of five years, so far as respects widows only, to commence at the end of the current or last expired term of five years in each case, respectively; which pension shall be paid out of the fund heretofore provided by law. And the pension herein continued shall cease for the causes mentioned in the laws granting the same, respectively.
SEC. 2. And be it further enacted, That the provisions of this act shall be extended to the widows of all those who may have died by reason of wounds received during the war.
APPROVED, June 28, 1832.
In 1840 the population of the United States was 17,069,453.
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Q: Casperjs - not able to save cli options while running casper_script via node I am running casper script via node using child_process execFile function, passing some data cli params.. But when i run the script i couldn't able to store those cli opts into variable for using them..
var casper = require("casper").create();
casper.echo("Casper CLI passed options:");
require("utils").dump(casper.cli.options);
// I want those all dumped data into single variable i.e.,  object but couldn't able to
// var options1 = require("utils").dump(casper.cli.options);
// var options2 = casper.cli.options;
casper.exit();

Here is the logs:
['Casper CLI passed opts:\n',
  '{\n    "page": 1,\n    "store": "Hello",\n    "title": "Flex App"\n}]

How can i achieve this?

A:
I want those all dumped data into single variable

Usually, CLI options are name-value pairs like
casperjs your_script.js --cliOne=one --cliTwo=two ....

And more often than not, it makes sense to get them into individual variable, like so:
var cliOne = casper.cli.get('cliOne');

But if you want to store all of them into one variable, you can still use the casper.cli.options, which will be a string, and then use JSON.parse (since it's comma separated name-value pairs and can be modeled as a JSON string).

A: I've found that i wasn't able to store those cli opts into variables but can get the params values using
casper.cli.get(index)
and use as much i want it to use it (within that script).. this solved my case without storing into variables..
Hope this may help others when they come over here.
Cheers,


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Home Business Recycling used paper into new inspiration
Recycling used paper into new inspiration
by Celeste Lewis
EOP Architects transforms scrapped renderings into sketchbooks for local students
EOP
Maybe you've received a few too many disapproving looks from your eco-savvy kids when you tried to toss a plastic water bottle in the trash. Maybe you finally bought a set of cloth bags to replace the paper-or-plastic debate when checking out with groceries. It's safe to say most of us have embraced recycling in some fashion — most of the time. However, when we really look around, there is probably a lot more we can do to green up, especially around the workplace.
It is easy to get caught up in deadlines and workload at the office. Eco-friendly habits fall by the wayside, and no kids are watching you like you just commissioned your own garbage barge to be dumped directly into the nearest ocean.
This workplace waste was very much on the mind of architect Chris Fredi with EOP Architects, an award-winning firm based in Lexington. The very nature of design requires a great deal of drawing and printing, and that translates into a lot of paper use.
After seeing stacks of printed design and construction documents and details tossed in the recycler at the end of a project, Fredi began to wonder if all that paper could have a second life. One side of the paper contained a variety of design content that was very visually interesting, and the other side was blank, so it seemed perfect for use as journals and sketchbooks. Fredi's brainchild caught the attention of principal partner Paul Ochenkoski.
"We always recycle our old paper," said Ochenkoski. "We knew there had to be another use for it. We always look for ways to make a positive impact in the community, and that's when we hit on the idea of upcycling the paper into student sketch pads."
EOP partners and staff got excited about making the books and started brainstorming uses for them. They approached Lynn Imaging to be a partner in the creation of the books, and they agreed to cut, assemble and bind the books at no charge. The result is a bound journal/sketchbook, perfect for thoughts, memories, homework or sketching and drawing. Each pad contains about 100 sheets of the recycled paper with one side blank and the other side bearing an array of designs and drawings from EOP projects such as color renderings, hand sketches and floor plans.
Next was the question of how to get the journals into the hands of those who most need them. EOP Marketing Director Mark Henderson Thompson contacted the Fayette County Public Schools system and came up with a plan to give the journals to high-school students. The students use them for every kind of need.
"We also hope the exposure to the design drawings on one side of the pages will be intriguing to the students and maybe inspire them to be interested in a career in architecture or engineering," said Thompson.
The students and teachers have greeted the donation enthusiastically.
"This innovative gesture from EOP will go a long way toward helping our graphic design and drafting students understand the real-world applications to what they are learning in class," said Tresine Logsdon, energy and sustainability curriculum coordinator for the FCPS. The books are being used by students in classes such as graphic design, IT engineering and art, just to name a few.
Thompson said EOP would like to see more architecture firms come on board with the program and expand the distribution of the books to more students at more schools.
"We are hoping to grow this program," explained Thompson. "Our firm has really enjoyed the experience of creating the books and seeing the students receive them. You can see their interest right away."
EOP is working with local chapters of the American Institute of Architects to spread the word and start similar programs.
"We would really like this to become a revolution of sorts," added Fredi. "We hope kids and everyone in the city, state and county start thinking about unconventional ways to use materials. Recycling in only one option."
Architects Business Lexington EOP Features Features Paper Recycled Student Business


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Since the quarantine began, I've been thinking a lot about movie theaters – not just the movies screened within, but the actual buildings in which they are projected. Where I live in Baltimore might seem like an unlikely place to explore the architecture of picture houses. But in 1950, at the height of the city's population, film fans could choose from 119 theaters in which to watch a movie. By 2016, that number had dwindled to three. What happened?
Going to the movies is an enduringly popular American pastime. Though the first motion pictures were produced in France, and though the medium has long since spread to all corners of the globe, going to the movies is still seen as American as apple pie or baseball. From the nickelodeons around the turn of the last century; to drive-in theaters in the postwar era; to today's sprawling multiplexes, watching moving pictures projected on the silver screen within a shared, public space remains a significant part of the American experience and is deeply imbedded in our psyche.
The Mayfair Theater, 2020. Photomontage by Dereck Stafford Mangus. Courtesy Dereck Stafford Mangus.
So it was with deep regret and a strange sort of irony that movie theaters in the United States – one of the few developed nations so greatly affected by Covid-19 – had to close their doors to the public these past few months. Sadly, most of the movie theaters in Baltimore were already shuttered and in a state of steady decline for far longer. A few blocks from my apartment stand the relics of the Mayfair Theater, built in the late 1800s. Today, it is literally a shell of what it once was. Following decades of neglect, the Mayfair closed down in 1986. Later, its roof collapsed, leading to deterioration of the exposed inner structure. In 2014, an adjacent building fire further damaged the abandoned building. The city finally decided to demolish all but the Beaux Arts façade, which is designated a municipal landmark. Today, the Mayfair looks like something out of an Edgar Allan Poe story: its windows are boarded up; its crumbling and cracked face has small trees growing out of it here and there; and its base has been repeatedly painted and papered over by graffiti and posters. There it sits, a faded palace from a forgotten time, as the light rail speeds by on Howard Street.
Since the stay-at-home order, many Americans have turned to their computers to stream movies on platforms like Amazon, Hulu, and Netflix to get their film fix. When streaming, it's all too easy to stop a movie partway through and then decide to watch something else after returning from the bathroom or kitchen. And there are too many options with online viewing. It might take half an hour to settle on something, only to be immediately disappointed by it. When you went to a movie theater, you had to pick one of several films, and if it was a stinker, you did your best to see it through to the end. And who knows? Maybe it wasn't that bad by the end after all. Watching movies at home also lacks the communal aspect of going to the movies. Though people don't usually interact at the cinema, there is something almost civic or even religious about going to the movies. Like a town hall or a church service, movie goers assemble and sit (mostly) in silence, observing a theme, together. In this sense, the movie theater represents a sort of non-denominational, secular church, where all are welcome. Watching movies on your computer or television is simply not the same experience as watching them– with a large audience in a darkened room– on the big screen.
As award-winning photojournalist for the Baltimore Sun Amy Davis writes in the preface of her fascinating book, Flickering Treasures: Rediscovering Baltimore's Forgotten Movie Theaters:
The Senator Theater, an Art Deco treasure built in 1939 and just three blocks from my house, was a beacon on York Road: a comforting, constant presence that enhanced the pride I felt for my neighborhood. When my children and I watched the searchlights raking the night sky for film premieres, we were reminded that there was more to watching movies than sitting close to the cool glow of our small television.
Flickering Treasures is a beautiful compendium of Charm City's cinemas, comprised of then-and-now photography accompanied by brief essays by local filmmakers like Barry Levinson and John Waters. Davis contrasts historic black and white photographs with her contemporary full-color images, evoking how time has taken its toll on the city's movie theaters. Photographs from Flickering Treasures are currently on exhibition at the Maryland Center for History and Culture.
Partial demolition of the Mayfair Theater. Photograph © Amy Davis, 2016. From Flickering Treasures: Rediscovering Baltimore's Forgotten Movie Theaters.
The architectural styles of Baltimore's movie theaters range from the grandiose elegance of the Beaux Arts fashion, found in the façade of the Mayfair, to the Streamline Moderne of the Centre Theater on North Avenue in the Station North Arts District. Unlike the Mayfair, the Centre is still in use. But like the Mayfair, only its exterior remains intact. The interior spaces of the Centre Theater have been renovated to accommodate film courses for the Maryland Institute College of Art (MICA) and Johns Hopkins University. In fact, many of Baltimore's movie theaters have been repurposed in one way or another. Some have been converted into churches. The Patterson Theater on Eastern Avenue in Highlandtown is now the home of Creative Alliance, a nonprofit community arts group.
Others have been successfully rehabilitated and returned to their original glory. Standing at the corner of Charles Street and North Avenue is the Parkway Theater, which fell into disrepair, closed down for many decades, and was recently renovated as a movie house. I was first exposed to the Parkway while a graduate student at MICA, in a classroom a few blocks west of the theater. As part of my Grad Survey course we watched Writing History with Lightning (2015) by the Philadelphia artist duo Nadia Hironaka and Matthew Suib. This deeply disturbing, experimental film consists of various altered and looped scenes from D.W. Griffith's controversial 1915 silent film The Birth of a Nation projected onto the interior spaces of the then abandoned Parkway Theater. In Writing History, the distorted images of Griffith's racist film march across the Parkway's architectural details, theater seats, and discarded objects from the building's past, a past that includes a screening of The Birth of a Nation. The projected images, captured with a high-definition camera, were filmed from within the theater. That footage was then coupled with a transmogrified version of the original score to The Birth of a Nation.
The Parkway Theater, 2016–2018. Photomontage by Dereck Stafford Mangus. Courtesy Dereck Stafford Mangus.
The date and title of Hironaka and Suib's powerful film are most significant. Writing History was created in 2015, a century after The Birth of a Nation was filmed and the Parkway first opened. It was also the year that Freddie Gray was murdered in Baltimore while in police custody, the protests to which passed by the Parkway in the spring of 2015. The source of their title comes from President Woodrow Wilson, who after screening The Birth of a Nation at the White House in 1915 (significantly, the first film screened there), allegedly remarked, "It is like writing history with lightning, and my only regret is that it is all so terribly true." While we'd like to think that things have changed for the better over the course of a century, artworks like Hironaka and Suib's force us to reconsider such assumptions.
I've been to several amazing shows at the Parkway since it reopened in 2017: Vagabond, by the French director Agnès Varda, during the 2017 Maryland Film Festival; later, a live performance by the Baltimore-based band Animal Collective in 2018; both of which serve as a corrective to the dark and disturbing themes from my first associations with the Parkway. Still, the imagery from Writing History with Lightning haunts my mind, and reminds me that we need to preserve and protect people as we preserve and protect architecture and films.
abandoned, agnès varda, amazon, American, Animal Collective, apple pie, Architect, architecture, art deco, baltimore, Barry Levinson, baseball, Beaux Arts, black and white photographs, Charm City, cinema, city, coronavirus, covid-19, Creative Alliance, D.W. Griffith, deterioration, Edgar Allen Poe, façade, film, film premieres, filmmakers, Flickering Treasures, france, globe, grad school, graffiti, historic, historical, hulu, john waters, Johns Hopkins, local, local filmmakers, Maryland Center for History and Culture., maryland institute college of art, matthew suib, Mayfair Theater, MFA, mica, movie, movie theatre, multiplexes, municipal landmark, nadia hironaka, Nadia Hironaka and Matthew Suib, Netflix, nickelodeon, parkway, Parkway Theater, photographs, photography, photojournalism, photojournalist, quarantine, Senator Theater, Station North Arts District, Streamline Moderne, structure, television, The Birth of a Nation, The Patterson Theater, theatre, tv, United States, Vagabond, Writing History with Lightning
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You searched for subject:(Project management ). Showing records 1 – 30 of 2892 total matches.
Kafile, Masithembe. "Effects of procurement processes on project execution in a project management company in Cape Town, South Africa ." 2018. Thesis, Cape Peninsula University of Technology. Accessed April 19, 2019. http://etd.cput.ac.za/handle/20.500.11838/2706.
Kafile, Masithembe. "Effects of procurement processes on project execution in a project management company in Cape Town, South Africa ." 2018. Web. 19 Apr 2019.
Kafile M. Effects of procurement processes on project execution in a project management company in Cape Town, South Africa . [Internet] [Thesis]. Cape Peninsula University of Technology; 2018. [cited 2019 Apr 19]. Available from: http://etd.cput.ac.za/handle/20.500.11838/2706.
Street, Jeffrey Norris. "Selective reduction of activity time uncertainty to reduce risk of unacceptable system performance." 2007. Doctoral Dissertation, University of Georgia. Accessed April 19, 2019. http://purl.galileo.usg.edu/uga_etd/street_jeffrey_n_200712_phd.
Street, Jeffrey Norris. "Selective reduction of activity time uncertainty to reduce risk of unacceptable system performance." 2007. Web. 19 Apr 2019.
Street JN. Selective reduction of activity time uncertainty to reduce risk of unacceptable system performance. [Internet] [Doctoral dissertation]. University of Georgia; 2007. [cited 2019 Apr 19]. Available from: http://purl.galileo.usg.edu/uga_etd/street_jeffrey_n_200712_phd.
Ha, Jun Gi. "Enterprise-wide information technology project methodology associated with enterprise architecture and information architecture: example of the enterprise portal." 2007. Masters Thesis, University of Georgia. Accessed April 19, 2019. http://purl.galileo.usg.edu/uga_etd/ha_jun-gi_200708_ma.
Ha, Jun Gi. "Enterprise-wide information technology project methodology associated with enterprise architecture and information architecture: example of the enterprise portal." 2007. Web. 19 Apr 2019.
Ha JG. Enterprise-wide information technology project methodology associated with enterprise architecture and information architecture: example of the enterprise portal. [Internet] [Masters thesis]. University of Georgia; 2007. [cited 2019 Apr 19]. Available from: http://purl.galileo.usg.edu/uga_etd/ha_jun-gi_200708_ma.
Nzioka, Kennedy. "Project management and organizational competitive advantage: a case of telecommunication firms in kenya ." 2015. Thesis, University of Nairobi. Accessed April 19, 2019. http://hdl.handle.net/11295/94846.
Nzioka, Kennedy. "Project management and organizational competitive advantage: a case of telecommunication firms in kenya ." 2015. Web. 19 Apr 2019.
Nzioka K. Project management and organizational competitive advantage: a case of telecommunication firms in kenya . [Internet] [Thesis]. University of Nairobi; 2015. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11295/94846.
Dube, Ndabezinhle. "Evaluating the impact of the project implementation profile (PIP) tool on interface management in public sector projects: case study KZN Department of Health Facilities." 2016. Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/23387.
Dube, Ndabezinhle. "Evaluating the impact of the project implementation profile (PIP) tool on interface management in public sector projects: case study KZN Department of Health Facilities." 2016. Web. 19 Apr 2019.
Dube N. Evaluating the impact of the project implementation profile (PIP) tool on interface management in public sector projects: case study KZN Department of Health Facilities. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/23387.
Tewelde, Beraki ,Teklehaimanot. "Improving lessons learned practice in architectural practices: systematic conversion of lessons learned into improvement actions." 2014. Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/18202.
Tewelde, Beraki ,Teklehaimanot. "Improving lessons learned practice in architectural practices: systematic conversion of lessons learned into improvement actions." 2014. Web. 19 Apr 2019.
Tewelde B,. Improving lessons learned practice in architectural practices: systematic conversion of lessons learned into improvement actions. [Internet] [Thesis]. University of Cape Town; 2014. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/18202.
Johnsen, Marthinus. "The project implementation profile's applicability to petro-chemical project success: an analysis of the key success factors." 2018. Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/27869.
Johnsen, Marthinus. "The project implementation profile's applicability to petro-chemical project success: an analysis of the key success factors." 2018. Web. 19 Apr 2019.
Johnsen M. The project implementation profile's applicability to petro-chemical project success: an analysis of the key success factors. [Internet] [Thesis]. University of Cape Town; 2018. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/27869.
Mabumbulu, Noxolo. "Project complexity and how to effectively measure complexity in projects: the case of a refuelling outage in a nuclear power generating plant." 2016. Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/23700.
Mabumbulu, Noxolo. "Project complexity and how to effectively measure complexity in projects: the case of a refuelling outage in a nuclear power generating plant." 2016. Web. 19 Apr 2019.
Mabumbulu N. Project complexity and how to effectively measure complexity in projects: the case of a refuelling outage in a nuclear power generating plant. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/23700.
Shereni, Tafadzwa. "Effective and efficient requirement traceability in the software development and Information Technology industry." 2015. Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/14129.
Shereni, Tafadzwa. "Effective and efficient requirement traceability in the software development and Information Technology industry." 2015. Web. 19 Apr 2019.
Shereni T. Effective and efficient requirement traceability in the software development and Information Technology industry. [Internet] [Thesis]. University of Cape Town; 2015. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/14129.
Khatieb, Muhammad Zaid. "Importance and management of IT project stakeholders." 2018. Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/27814.
Khatieb, Muhammad Zaid. "Importance and management of IT project stakeholders." 2018. Web. 19 Apr 2019.
Khatieb MZ. Importance and management of IT project stakeholders. [Internet] [Thesis]. University of Cape Town; 2018. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/27814.
Chiropa, Moses Tinashe. "The project implementation profile's applicability to the modern construction industry." 2018. Masters Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/29268.
Chiropa, Moses Tinashe. "The project implementation profile's applicability to the modern construction industry." 2018. Web. 19 Apr 2019.
Chiropa MT. The project implementation profile's applicability to the modern construction industry. [Internet] [Masters thesis]. University of Cape Town; 2018. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/29268.
Rwelamila, Esther Kagemulo. "Understanding the risk in South African construction projects - a case of the Western Cape." 2018. Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/28107.
Rwelamila, Esther Kagemulo. "Understanding the risk in South African construction projects - a case of the Western Cape." 2018. Web. 19 Apr 2019.
Rwelamila EK. Understanding the risk in South African construction projects - a case of the Western Cape. [Internet] [Thesis]. University of Cape Town; 2018. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/28107.
Muchenga, Isaac. "Political risk management on international construction projects." 2016. Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/20676.
Muchenga, Isaac. "Political risk management on international construction projects." 2016. Web. 19 Apr 2019.
Muchenga I. Political risk management on international construction projects. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/20676.
Gumede, Nomfusi. "Study of the value of project stage-gates within a nuclear power plant." 2016. Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/23699.
Gumede, Nomfusi. "Study of the value of project stage-gates within a nuclear power plant." 2016. Web. 19 Apr 2019.
Gumede N. Study of the value of project stage-gates within a nuclear power plant. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/23699.
Theletsane, Kula Ishmael. "Identifying factors hindering project success in the South Africa navy." 2018. Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/27813.
Theletsane, Kula Ishmael. "Identifying factors hindering project success in the South Africa navy." 2018. Web. 19 Apr 2019.
Theletsane KI. Identifying factors hindering project success in the South Africa navy. [Internet] [Thesis]. University of Cape Town; 2018. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/27813.
Mguti, Maclean M M. "Application of the fast model from value engineering to capture and communicate project lessons learnt." 2018. Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/27968.
Mguti, Maclean M M. "Application of the fast model from value engineering to capture and communicate project lessons learnt." 2018. Web. 19 Apr 2019.
Mguti MMM. Application of the fast model from value engineering to capture and communicate project lessons learnt. [Internet] [Thesis]. University of Cape Town; 2018. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/27968.
Koigi, Stephen. "Perception of quantity surveyors advising on building specifications to support sustainable building developments." 2017. Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/27328.
Koigi, Stephen. "Perception of quantity surveyors advising on building specifications to support sustainable building developments." 2017. Web. 19 Apr 2019.
Koigi S. Perception of quantity surveyors advising on building specifications to support sustainable building developments. [Internet] [Thesis]. University of Cape Town; 2017. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/27328.
Cawood, Wayne Thomas. "Die projekbestuursproses : 'n teoretiese beskouing." 2012. Thesis, University of Johannesburg. Accessed April 19, 2019. http://hdl.handle.net/10210/6214.
Cawood, Wayne Thomas. "Die projekbestuursproses : 'n teoretiese beskouing." 2012. Web. 19 Apr 2019.
Cawood WT. Die projekbestuursproses : 'n teoretiese beskouing. [Internet] [Thesis]. University of Johannesburg; 2012. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/10210/6214.
Arendse, Jerome Rayford. "Project management competency factors in the built environment." 2013. Thesis, University of Johannesburg. Accessed April 19, 2019. http://hdl.handle.net/10210/8588.
Arendse, Jerome Rayford. "Project management competency factors in the built environment." 2013. Web. 19 Apr 2019.
Arendse JR. Project management competency factors in the built environment. [Internet] [Thesis]. University of Johannesburg; 2013. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/10210/8588.
Jayram, Shahir Vishal. "The successful implementation of project management in a FMCG Industry by means of a contemporary systems approach." 2012. Thesis, University of Johannesburg. Accessed April 19, 2019. http://hdl.handle.net/10210/6835.
Jayram, Shahir Vishal. "The successful implementation of project management in a FMCG Industry by means of a contemporary systems approach." 2012. Web. 19 Apr 2019.
Jayram SV. The successful implementation of project management in a FMCG Industry by means of a contemporary systems approach. [Internet] [Thesis]. University of Johannesburg; 2012. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/10210/6835.
Van der Merwe, Andre Philip. "Business development : a project management approach." 2012. Thesis, University of Johannesburg. Accessed April 19, 2019. http://hdl.handle.net/10210/6417.
Van der Merwe, Andre Philip. "Business development : a project management approach." 2012. Web. 19 Apr 2019.
Van der Merwe AP. Business development : a project management approach. [Internet] [Thesis]. University of Johannesburg; 2012. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/10210/6417.
Matsio, Thato. "Factors critical to benefits realisation of IT/IS projects in the South African government." 2018. Masters Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/29634.
Matsio, Thato. "Factors critical to benefits realisation of IT/IS projects in the South African government." 2018. Web. 19 Apr 2019.
Matsio T. Factors critical to benefits realisation of IT/IS projects in the South African government. [Internet] [Masters thesis]. University of Cape Town; 2018. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/29634.
Motsisi, Lorato. "Determination of factors impacting the performance of the CBNRM programme in Botswana." 2018. Masters Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/29781.
Motsisi, Lorato. "Determination of factors impacting the performance of the CBNRM programme in Botswana." 2018. Web. 19 Apr 2019.
Motsisi L. Determination of factors impacting the performance of the CBNRM programme in Botswana. [Internet] [Masters thesis]. University of Cape Town; 2018. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/29781.
Mpemba, Nyasha. "Glass ceilings - a study into the barriers faced by aspiring professional black women in the South African Built Environment." 2018. Masters Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/29780.
Mpemba, Nyasha. "Glass ceilings - a study into the barriers faced by aspiring professional black women in the South African Built Environment." 2018. Web. 19 Apr 2019.
Mpemba N. Glass ceilings - a study into the barriers faced by aspiring professional black women in the South African Built Environment. [Internet] [Masters thesis]. University of Cape Town; 2018. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/29780.
Shiimi, Mary. "Identifying design alternatives for the Windhoek municipality by applying the FAST diagram." 2018. Masters Thesis, University of Cape Town. Accessed April 19, 2019. http://hdl.handle.net/11427/29478.
Shiimi, Mary. "Identifying design alternatives for the Windhoek municipality by applying the FAST diagram." 2018. Web. 19 Apr 2019.
Shiimi M. Identifying design alternatives for the Windhoek municipality by applying the FAST diagram. [Internet] [Masters thesis]. University of Cape Town; 2018. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/11427/29478.
Hwang, Rong-Yuh. "The Project Management Framework of a Large-scale Lump Sum Turnkey Project." 2011. Thesis, NSYSU. Accessed April 19, 2019. http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0824111-220108.
Hwang, Rong-Yuh. "The Project Management Framework of a Large-scale Lump Sum Turnkey Project." 2011. Web. 19 Apr 2019.
Hwang R. The Project Management Framework of a Large-scale Lump Sum Turnkey Project. [Internet] [Thesis]. NSYSU; 2011. [cited 2019 Apr 19]. Available from: http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0824111-220108.
Arsalan Arshad, M. "Projects in Process and Energy Industry: Improving predictability of complex projects:." 2011. Masters Thesis, Delft University of Technology. Accessed April 19, 2019. http://resolver.tudelft.nl/uuid:e502ced5-5386-4496-a78c-e0cc1e9bfe7e.
Arsalan Arshad, M. "Projects in Process and Energy Industry: Improving predictability of complex projects:." 2011. Web. 19 Apr 2019.
Arsalan Arshad M. Projects in Process and Energy Industry: Improving predictability of complex projects:. [Internet] [Masters thesis]. Delft University of Technology; 2011. [cited 2019 Apr 19]. Available from: http://resolver.tudelft.nl/uuid:e502ced5-5386-4496-a78c-e0cc1e9bfe7e.
Huang, Yao-Tsung. "the Competence of Non-IT Background Project Manager Leading IT Project." 2008. Thesis, NSYSU. Accessed April 19, 2019. http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0730108-005048.
Huang, Yao-Tsung. "the Competence of Non-IT Background Project Manager Leading IT Project." 2008. Web. 19 Apr 2019.
Huang Y. the Competence of Non-IT Background Project Manager Leading IT Project. [Internet] [Thesis]. NSYSU; 2008. [cited 2019 Apr 19]. Available from: http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0730108-005048.
author], [No. "Identification of project management strategies, activities and principles for successful delivery in the public sector. " 2008. Thesis, University of KwaZulu-Natal. Accessed April 19, 2019. http://hdl.handle.net/10413/3947.
author], [No. "Identification of project management strategies, activities and principles for successful delivery in the public sector. " 2008. Web. 19 Apr 2019.
author] [. Identification of project management strategies, activities and principles for successful delivery in the public sector. [Internet] [Thesis]. University of KwaZulu-Natal; 2008. [cited 2019 Apr 19]. Available from: http://hdl.handle.net/10413/3947.
1978, Sigurður Bjarni Gíslason. "The benefits of PMOs in Icelandic organizations and why some have been shut down." 2012. Thesis, Reykjavík University. Accessed April 19, 2019. http://hdl.handle.net/1946/12943.
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text:
Джавде́т — злодей, закадровый персонаж фильма «Белое солнце пустыни», ряда книг, сценариев, статей, а также стихотворений и анекдотов. Объект ряда научных исследований и персонаж литературных произведений. Воспет в стихах и употребляется в качестве имени нарицательного в публицистике, и заклятый враг Саида.

О Джавдете известно крайне мало и, в основном, со слов Саида, так как сам Джавдет в кадре не появляется. Со слов Саида его можно охарактеризовать как трусливого, коварного, жадного и безжалостного разбойника, который убил отца Саида, а самого Саида связал и закопал в бархан, дабы тот умирал долгой мучительной смертью под палящим солнцем пустыни. После спасения Саида красноармейцем Суховым со слов Абдуллы, Джавдета не следует искать у Сухого Ручья, так как «его там нет». После разгрома банды Абдуллы Сухов предлагает Саиду свою помощь в поиске Джавдета, но тот категорически отказывается, ввиду того что месть является для него делом первостепенной важности и семейной чести.

Биография персонажа
В первоначальном сценарии фильма Джавдет не просто связал и закопал Саида в бархан, но для верности предварительно ещё и ранил его — поэтому Сухову пришлось в буквальном смысле слова тащить его до ближайшего населённого пункта — вымышленного городка Педжента. Впоследствии этот и многие другие эпизоды не вошли в конечную прокатную версию картины. Тем не менее, неизменным от первоначального сценария остаётся отказ Саида помогать Сухову защищать отвоёванный гарем — ему надо отомстить Джавдету за смерть отца. Кроме того, сам Сухов не проявил особого интереса к личным проблемам откопанного им ранее Саида — в фильм не вошла соответствующая сцена.

В продолжении фильма, который собирался снимать Владимир Мотыль, счета Саида с Джавдетом остались не сведёнными, и Джавдет возникал в новом сюжете как один из главных героев продолжения конфликта. По словам самого режиссёра, у него была идея продолжить приключения Сухова, но, по его же словам, этому помешала волокита, связанная со съёмками и выходом в прокат первой ленты: «У нас со сценаристами действительно были идеи сделать вторую и, может, даже третью картину: чтобы Верещагин выплыл, снова встретил Сухова, который так и не может выйти из этой пустыни, чтобы он помог Саиду одолеть Джавдета — вариантов могла быть масса. Но когда я вспоминал, сколько издевательств пришлось мне вытерпеть во время съёмок и особенно после…», — таким образом, съёмки продолжения картины — второй и третьей части — было решено отложить на неопределённое время.

Научное исследование личности персонажа
Анализируя личность персонажа, декан факультета глубинной психологии ИПИС В. А. Медведев обращает внимание на то обстоятельство, что Джавдет убил его отца в спину, лишив таким образом Саида возможности пройти ритуал посвящения в мужчины. Мечта о мести Джавдету и связанные с ней переживания, которые сопровождают Саида на протяжении всего фильма, обусловлены его своеобразным пограничным состоянием, состоянием экзистенциального выбора между жизнью и смертью. По убеждению В. Медведева, знаменитая финальная фраза фильма, сказанная Саидом красноармейцу Сухову: «Джавдет мой, встретишь — не трогай его…», — предполагает, что Саид опасается, как бы Сухов не убил Джавдета в одиночку и таким образом не лишил возможности самому осуществить месть. Это объяснимо амбивалентностью табу врага, которую выразил Ницше в его произведении «Злая мудрость»: «После опьянения победой всегда появляется чувство большой утраты, наш враг мёртв!» — убив Джавдета, Сухов, образно говоря, «зароет» Саида обратно в песок.

Джавдет ограничивает жизненный мир Саида, сводя его в рамки любви к убитому отцу и ненависти к его убийце — то есть к самому Джавдету. Таким образом, для данного сюжета Джавдет играет роль Клавдия (убийцы отца главного героя шекспировской трагедии «Гамлет, принц датский»), переиначенную на восточный лад. Анализ мира бессознательного Саида приводит В. А. Медведева к убеждению в том, что при осознанной ненависти Саида к Джавдету бессознательно его влечёт к Джавдету, определяя суицидальность Саида, на что намекает его фраза, обращённая к Сухову, который спас его от долгой мучительной смерти: «Зачем откопал? Не будет мне покоя, пока жив Джавдет…». Следуя этим рассуждениям, В. А. Медведев приходит к выводу, что неведомый зрителю Джавдет является единственной жизненной привязанностью Саида (сам Медведев именует их странный дуэт «сладкой парочкой»). Более того, к Сухому Ручью Саид отправился лишь потому, что Джавдета там нет. К концу фильма зрителю постепенно становится ясно — возможно, никакого Джавдета и не было, а был лишь образ, созданный в психической реальности Саида для того, чтобы оправдать постоянное убийство возникающих по сценарию всё новых и новых «джавдетов», проецируя на мир межчеловеческих отношений конфликтную основу собственной психики.

В определённой мере близкую по сути трактовку вымышленности персонажа даёт профессор Ричмондского университета Е. Прохорова, которая в своей книге приходит к выводу, что «неуловимый» Джавдет и Катерина Матвеевна — эти часто повторяющиеся слова употребляются произносящими их героями не как имена, но как некие магические заклинания — мантра — характерная для тех эпизодов фильма, когда персонажи на время отвлекаются от своих эпических приключений. К этой мысли и подводит читателей В. А. Медведев: если Сухов спит и видит Екатерину Матвеевну, которая на протяжении всего фильма существует только в его воображении, то ровно то же самое можно сказать и про Джавдета — в цельном виде он существует только в воображении Саида, а Абдулла, который послал своих людей к Саиду сообщить, чтобы тот «не искал Джавдета в Сухом Ручье, его там нет…», — лишь подыграл таким образом своему знакомому, вскользь упомянув предмет его воображения, но не материализовав его.

Фразеология, производная от имени персонажа
Следует отметить, что все фразы, сказанные в течение фильма различными персонажами — Саидом: «Отца убил, меня закопал, четырёх баранов взял», «Джавдет — мой… Встретишь — не трогай его…», «Не будет покоя, пока жив Джавдет», «Зачем выкопал?», «Если меня убьют, кто отомстит Джавдету?», «Здесь нет Джавдета…»; Абдуллой: «Зачем ты убил моих людей, Саид?! Я послал их сказать, чтобы ты не искал Джавдета в Сухом Ручье, его там нет…»; и Суховым: «Так как с Джавдетом, может, помочь?» — стали нарицательными. Более того, социологические опросы, проведённые специалистами Московского государственного лингвистического университета, показывают, что даже для поколения телезрителей, родившегося в странах на постсоветском пространстве (при том, что фильм вышел в прокат в 1970 году), имя Джавдет стойко ассоциируется с образом жестокого бандита из фильма «Белое солнце пустыни».

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