text:
http://tvtropes.org/pmwiki/pmwiki.php/WesternAnimation/Primal2019
Western Animation / Primal (2019)
aka: Primal
NightmareFuel
TearJerker
WesternAnimati…
Create New - Create New - Analysis FanficRecs FanWorks Haiku Headscratchers ImageLinks PlayingWith Quotes ReferencedBy Synopsis Timeline
Hunt. Kill. Survive.
"All Earth was but one thought — and that was death."
- Darkness, Lord Byron
Genndy Tartakovsky's Primal, also known simply as Primal, is a ten-episode action-adventure mini series produced by Cartoon Network Studios for [adult swim]. It is Tartakovsky's second series created for the station (following the 2017 revival of Samurai Jack) and his fourth overall.
The limited series follows Spear, a caveman at the dawn of evolution, and Fang, a tyrannosaur on the brink of extinction. Bonded by similar tragedy, the duo form an unlikely friendship that becomes their only mutual hope of survival in a violent, primordial world.
While Tartakovsky's work is famous for being light on dialogue, this series is notably his first project to not to have any dialogue whatsoever, the only human vocalizations being animalistic grunts and yells.
The first trailer was released on May 14th, 2019, while the second was showcased on August 27th. The first five episodes of the series ran from October 7th to October 11th, 2019, and were later repackaged into a theatrical film entitled Genndy Tartakovsky's Primal — Tales of Savagery. A second batch of episodes are scheduled to air in 2020.
Not to be confused with the video game of the same name.
Tropes:
1 Million B.C.: The show's setting is "the dawn of evolution". Cenozoic creatures like cavemen, ape-men and a woolly mammoths exists alongside Mesozoic animals such as theropod dinosaurs and pterosaurs, as well as fantasy creatures like giant spiders.
Absurdly Sharp Blade: Spear's... spear, which is seemingly just a regular chiseled rock tied to a normal stick, but always cuts cleanly through all meat and bone with little effort (in the first episode it pierces straight through an entire tyrannosaur) and even after all its use, apparently never dulls.
Fang's... fangs are also astonishingly sharp, enabling her to bite clean through snakes as thick as tree trunks, cleave through heads of bats bigger than she is, or even just tear chunks out of a mammoth's leg with zero resistance. If she can get her jaws around it, it will come loose.
It probably has more to do with her incredible jaw strength as a T. rex rather than the sharpness of her teeth.
Action Film, Quiet Drama Scene: Between the gory fight scenes, the show has several quiet and somber moments. The first episode has one where Spear stands on the edge of a cliff, contemplating suicide, and one where Fang, after losing her family, follows Spear on a beach for comfort.
All Cavemen Were Neanderthals: Spear, the show's protagonist is a stereotypical neanderthal-like caveman with a bulky physique, hunched posture, thick arms and enormous fists, as well as thick brows and a flat forehead. He also seems to have Super Strength, considering that he fights animals far larger than him with his bare hands.
All There in the Manual: Since the show has no dialogue, the names of the characters are only known from the episode titles and supplementary materials.
Amazing Technicolor Wildlife: The giant bats Spear fights in "Terror Under the Blood Moon" are blood-red.
Androcles' Lion: In "Terror of the Blood Moon", an ape man carrying food breaks his leg and is vulnerable to the giant bats that prey on them. Spear runs out and manages to carry the ape man and his food back to the safety of the rocks, albeit forgetting his spear. At the end of the episode, the rescued ape man had taken in the weapon and gives it back to Spear while he and Fang flee from the bats.
Animals Not to Scale: The show features some animals far larger than in real-life, including woolly mammoths twice the size of African elephants, bats larger than humans and a Giant Spider that can toss a Tyrannosaurus aside like a ragdoll. Zig-Zagged with the large snake in the second episode which is about the correct length for the extinct species Titanoboa, but its width makes it much bigger than the ancient snake, considering Fang bites onto it and only seems able to grab about a third of its neck. Averted with the horned Tyrannosaurus in the first episode which are accurately sized, but played straight with the alpha who is about the size of a sauropod; it's so big you would be forgiven if you thought the smaller T. rex were its children. Justified with the King Kong-sized ape monster in the 5th episode as he is under the effect of a magic potion that increases his size and strength. Without the potion, he's more or less the correct size for a Gigantopithecus.
Anti-Hero: The main hero, Spear, brutally kills his opponents, but considering that this is a dog-eat-dog world where our moral standards don't exist yet, it's justified for his situation. Spear is even shown preparing to attack Fang and her family before being interrupted by the horned tyrannosaurs.
Anti-Villain: The mammoths in episode three attack Spear and Fang remorselessly, but its only because they ate one of their own and took away its tusk. Once they're given it, they retreat to ceremonial grounds.
Artistic License – Biology:
The show depicts many overly aggressive animals fighting to the death when in reality the opposite is true. Animals in real life will actively avoid fights because even if they win any major injury will almost certainly kill them.
Even if you ignore the fact that a Giant Spider would be impossible due to the Square-Cube Law (the long, spindly, spread-out legs wouldn't be able to carry such a bulky body), the spider has a toothy lower jaw under its chelicerae, and its silk glands in its mouth rather than at the end of its abdomen.
Artistic License – Paleontology: From the outset Primal makes no bones about it being fantasy, not fact:
Dinosaurs are shown living alongside Cenozoic mammals.
Although Spear and his family seem to be neanderthals, his wife is slender and has the general body proportions of a modern Homo sapiens. In her brief appearance she also seems to be a meek and stay at home type, when hunter-gatherer societies are known to be more egalitarian.
The generic pterosaur in Episode 1 is a weirdly mixed bag. It launches bipedally, lacks a fuzzy covering of pycnofibers, bipedal launching, has four digits excluding the wing finger including the wing finger and seems to have a good sense of smell. note The few pterosaur endocasts we have show that, like most modern birds and bats, they had a poor sense of smell. However its entirely possible we might come across some species that did have better olphaction, given things like turkey vultures and flying foxes, not to mention resembling a mix-match of different genera. That said, it is a quadrupedal walker, is hunting terrestrially as many larger pterosaurs did and has correct non-columnar forelimbs.
Dinosaurs have pronated hands.
The raptors are oversized and featherless, although the creators confirmed they wanted to put feathers, but had difficulty with it.
Woolly mammoths, a species which was smaller than the modern African elephant, dwarf Fang.
Three of the enemy Tyrannosaurus rex in the first episode have enlarged horns similar to rhinoceroses or Ceratosaurus. The last one, however, looks more like a real tyrannosaur (specifically Alioramus) with smaller hornlets on the snout.
The snakes in Episode 2 appear to be Titanoboa due to their size, but they have fangs similar to a venomous snake. And yet, they seem to be non-venomous like the real Titanoboa.
The bats featured in Episode 4 are orders of magnitude larger than the biggest species in the fossil record.
The large bug that Spear eats in Episode 2 resembles a trilobite in size and general body shape (including the large number of legs), but trilobites were strictly marine creatures with no terrestrial species known (not to mention they went extinct long before either dinosaurs or cavemen walked the Earth), though to be fair there are terrestrial trackways of trilobites indicating they might have come ashore occasionally like crabs.
Attack! Attack! Attack!: Both Spear and the various animals tend to keep attacking and fighting even when they suffer serious injuries and it would make sense for them to back down.
Badass Normal: Spear, who is just a caveman who can fight and win battles against prehistoric beasts several times his size. If he isn't using a stone spear, he is bashing them to death with a rock or just his fists.
Barbarian Longhair: Spear sports shoulder-long black hair, and he's a powerful, savage hunter struggling to survive in a primordial world.
Bat Out of Hell: Spear fights a flock of gigantic red bats in "Terror Under the Blood Moon".
Beastly Bloodsports: The ape-men release Fang into an arena to fight their champion one-on-one as the other ape-men cheer him on, which is reminiscent of gladiatoral games.
Behemoth Battle: The series features brutal fights between giant beasts at least Once an Episode, with Fang usually being one of the battlers. In the first five episodes, Fang gets to fight a horned tyrannosaur, a giant snake, a few mammoths, a Giant Spider and a giant Killer Gorilla. The fifth episode also features Spear turning into a monstrous giant and fighting said Killer Gorilla.
Bloodier and Gorier: Compared to Genndy's other works. Just to show how violent the series will be, a sneak peek of the series shows Fang killing another tyrannosaur by gnawing its upper jaw off. This even shows up casually, such as a moment in "Rage of the Ape-Men" where Spear takes a bite from a live fish with a surprising amount of bright red blood resulting.
Charles Atlas Superpower:
Spear demonstrates almost superhuman-level feats of strength at times. Probably the most prominent example in the very first episode is when he throws his spear straight through a fully-grown T. rex like a bullet.
Spear's wife, who looks more human-like than Spear, for the briefest moment she's seen is shown throwing small boulders at the T. rex so strongly it shatters on impact.
Cliffhanger: Episode 5 ends with Spear and Fang bleeding and on the verge of death, leaving their fates ambiguous.
Cue the Sun: "Terror Under the Blood Moon", appropriately, ends this way, with Spear and Fang running towards the sunrise after surviving the night.
Curb-Stomp Battle:
Fang's fight against the Giant Spider in Episode 4 plays out like this. The dinosaur has little chance against the monstrous arachnid until Spear interferes, driving a Triceratops horn through the spider's head.
Fang becomes the victim of this again in Episode 5, against the ape-man champion who has been physically enhanced by the black serum. She seemingly dies from the fight.
The tables then get turned on the gorilla champion in his fight against Spear, who has also been physically enhanced. It is so one-sided in Spear's favour it actually comes across as darkly humorous.
Darker and Edgier: Compared to many previous works from Genndy note as far as recently in Season 5 of "Samurai Jack". Primal is the darkest of his projects to date, taking place in a primordial Death World, being excessively gory, and centering around the tragedy of a man losing his family (including his children).
Dark Is Not Evil: The gangly, albino cave-dwellers seen in episode 4 are very much team players, giving Spear back his spear when he and Fang evade the furious bats.
Death of a Child: Spear's children get devoured along with his wife in the first episode. Fang's children don't fare much better.
Death World: The second trailer begins with a quote from Lord Byron, saying that this is a time of death, where all living things are struggling to survive and will do so at almost any cost. Mercy to the enemy can mean suicide.
Despair Event Horizon: Happens to Spear in the first half of episode 1; His wife and two children are devoured by a group of tyrannosaurs. He climbs a large rock and stands at the edge, clearly about to commit suicide because he has lost everything. He manages to bounce back after seeing a vision of his wife and children in the rising sun, motivating him to continue living.
Dire Beast: Many animals in the series, such as the crocodile or the snakes, fit this trope, being larger and more monstrous than their modern-day equivalent. The ones that absolutely take the cake are the bats from "Terror Under The Blood Moon", being similar in size to the largest pterosaurs. Also, the horned tyrannosaurs (especially their leader) can be considered "dire" versions of a T. rex.
Driven to Suicide: After losing his wife and kids to a pack of horned T. rex, Spear climbs a tall cliff and ponders whether or not he should just step off of it. He ultimately doesn't go through, but he did spend many hours at the edge of the cliff thinking if he should.
Elephant Graveyard: One appears in the third episode. The mammoths take the tusk of their fallen herd member there and perform a funeral-like ritual for him.
Establishing Series Moment: Spear coming home to witness his family being devoured by tyrannosaurs sets up the kind of setting the series takes place in.
Everything Trying to Kill You: Technically a case of everything trying to kill everything. The world of Primal can't be a nice place to live if even the predators hunt each other.
Evil Is Bigger:
Fang, the sympathetic Tyrannosaurus, when shown side-by-side with the human Spear, appears to be around 8 meters long, which is relatively small for her species. The antagonistic (although more "predatory" than "evil") horned tyrannosaurs are slightly bigger and their leader is humongous with a body length between 20 and 30 meters.
The elite warriors of the villainous ape-men are huge gorilla-like people a lot larger than the heroic caveman Spear. The black potion their champion drinks turns him even bigger and even more evil.
Evil Tower of Ominousness: In the 4th episode, the bats carry Spear to the prehistoric equivalent of this trope, a cave on top of a tall stone spire. It is the home of a Giant Spider who seems to control the bats.
Eye Scream: In "A Cold Death," Spear uses a rock to smash the eye of a woolly mammoth into a bloody pulp. Subverted in the show proper where it turns out the eye was left intact.
In "Wrath of the Ape-Men", he similarly plunges his fist into the eye socket of the Ape champion's skull helmet. Despite the spray of blood, moments later we see he still has both eyes.
Fantastic Racism: Briefly. Spear is willing to kill Fang and her family, not because she's a threat but because she's a similar dinosaur to the ones that took his loved ones away.
Frazetta Man: Beside Spear's species, who looks like a neanderthal, there are at least two other, more primitive type of hominids that both fit this trope. One is a tribe of sparsely haired, pale, cave-dwelling people (listed as "monkeys" in the end credits) that show up in the 4th episode, the other is a tribe of hairier, even more ape-like people that are the main antagonists of Episode 5.
Genre Shift: The first three episodes, despite all the Artistic License – Paleontology (creatures from vastly different time periods living together and having inaccurate size or features), are relatively grounded in reality. The fourth episode introduces absolutely unrealistic animals such as monstrous bats and a Giant Spider who seems to rule over the bats, and the fifth episode features explicit magic (or mutagenic science) in the form of a Super Serum that increases size and aggression.
Giant Flyer: Both the pterosaur in episode 1 and the monster bats from episode 4 fall under this trope, with the latter being strong enough to carry off full grown dinosaurs in pairs. (The former's case is justified as real-life pterosaurs really did get that big).
Giant Spider: The main antagonist of episode 4 is a spider that's similar in size to a sauropod, towering over Fang.
Gorn: While every episode has lots of blood and graphic injuries, the last act of the final episode really takes it Up to Eleven, when Spear takes a Psycho Serum, turning into a hulking beast that reduces dozens of monkey-men into Ludicrous Gibs with his bare hands onscreen.
Half the Man He Used to Be: Spear does this to several of the ape-men in different ways, up to punching them or throwing some against a rock hard enough.
Heel Realization:
After losing his family to three T. rex, Spear is ready to go in for the kill when he spots Fang near a river. Following her to her home, he sees her children and after a moments pause is driven into a seeming infantacidal rage. Before he can act, the dinosaurs that killed his family attack Fang. Spear very quickly sees the parallels.
Similarly, when Spear and Fang are attacked by the mammoths, Spear realizes that they are after the tusk of their fallen herd member that he has taken with him. Once Spear returns the tusk, the mammoths leave in peace.
Hidden Depths: Spear is a powerful warrior with a tenacious will to survive. In quiet moments, he tends to enjoy cave painting and shadow puppetry.
Honorable Elephant: The mammoths are presented as particularly intelligent prehistoric beasts who mourn for their dead.
Hope Spot: After a long and perilous journey, Spear and Fang find a seemingly safe oasis in Episode 5, where there's plenty of fish to eat and no dangerous predators. Then the ape-men show up and kidnap them.
Horns of Villainy:
The Tyrannosaurus that kill Spear's family have Ceratosaurus-like horns, which the more sympathetic Tyrannosaurus Fang lacks.
Krog, the ape-man champion, wears a Triceratops skull as helmet.
Horrifying the Horror: When Spear and Fang are cornered by a large pack of raptors in the fourth episode, the rise of the blood moon causes the raptors to scatter, as it means the giant bats are out to hunt.
Hulking Out: The Super Serum used by the ape-man tribe turns the person drinking it into super-strong, mindlessly aggressive giant. First, their champion Krog drinks a single drop from it, turning into a King Kong-like monster that easily defeats Fang. Then Spear drinks the whole bowl, becoming a prehistoric version of The Incredible Hulk, curb-stomping Krog and the entire ape-man tribe.
Inevitable Waterfall: While struggling against a flood filled with horde of snakes in the second episode, Spear quickly sees a waterfall with much sharp rocks at the bottom.
Informed Species: The Ceratosaurus-like theropods from the first episode are identified as T. rex by the animatic. Somewhat downplayed in that they do possess the general body size, proportions, and two-fingered hands of Tyrannosaurus - and their alpha easily dwarfs Giganotosaurus and Spinosaurus.
Interspecies Friendship: Between Spear, a neanderthal-like caveman and Fang, a tyrannosaur.
Kill Steal: A major plot point in the second episode. Spear and Fang try to hunt together, but each time they find prey, the Tyrannosaurus takes all of it, leaving nothing for the caveman. For example, when Spear successfully kills a warthog by throwing his spear, the dinosaur gets there first and eats the warthog whole before the caveman can get a piece of it. Initially it's Played for Laughs, but soon it turns more serious and almost drives the duo apart.
Killer Gorilla: The strongest warriors of the ape-man tribe resemble enormous gorillas. The Super Serum that their champion drinks makes him bigger and more aggressive, turning him into a King Kong-like monster.
Light Is Good: In a rather beautiful sequence Spear sees his wife and children in the rising sun, inspiring him to not commit suicide.
Loincloth: The only piece of clothing Spear wears (except in the third episode where he crafts a vest out of mammoth fur to avoid getting Exposed to the Elements). The hairless cave-dwellers also wear loincloths, but the ape-men don't, as they are covered by their own fur.
Made of Iron: Spear and Fang both qualify for this. Each of them endure ungodly amounts of punishment over the course of the series; particularly noteworthy is episode four, in which the Giant Spider throws Fang around like a rag doll yet she doesn't seem to suffer any long term effects afterwards. Averted after her savage beating at the hands of Krog, the ape-man champion. He visibly breaks her leg, and it's left up in the air if she's even alive at the end of the episode.
Made of Plasticine: As typical for a gory series, making the mooks into paste seems very easy. The crowning example is Spear throwing a spear through a horned tyrannosaur torso like a bullet.
Mama Bear: Fang fights tooth and claw to save her children. When both she and Spear ultimately fail, she launches herself at a monster ten times her size without hesitation.
Metronomic Man Mashing: Or rather dinosaur-mashing. The Giant Spider grabs Fang by the tail and bashes her to the wall of its lair several times.
Might Makes Right: Since the series takes place at the very dawn of human sapience, everything living follows the instinctual imperative of survival of the fittest. And then this gets Subverted when we see the first instance of an interspecies bond that transcends the rule of "eat or be eaten".
Mime and Music-Only Cartoon: Despite its overall Darker and Edgier feel, it fits the bill. The show features no dialogue from either the caveman or the animals, only grunts, roars and other animalistic sounds. All emotions are conveyed through the characters' expressions and body language as well as the background music.
Mix-and-Match Critter:
The first episode feature a pack of T. rex with horns like rhinoceroses, Ceratosaurus, or Alioramus.
The pterosaur from the first episode looks like a cross between Pteranodon, Pterodactylus, and Quetzalcoatlus.
The third episode features wolves with Smilodon-like saber teeth.
Monster Is a Mommy: Spear thinks Fang is a predatory dinosaur similar to the ones that killed his family. Then he discovers she has two nestlings which she also tries to protect from predators.
Monstrous Cannibalism: The horned tyrannosaurs are either the same species as Fang, or at least a closely related species. This does not stop them from seeing Fang's offspring as prey.
Mood Whiplash: The show can quickly switch from a quiet and calm moment to a brutal, violent one and back.
Mook Horror Show: The climax of "Rage of the Ape-Men". Spear gulps down the mystical elixir that the ape-men created, which turns him into a giant monstrosity comparable to the Incredible Hulk. The ape-men attempt to Zerg Rush Spear, but he is not affected the slightest, and slaughters the ape-men left and right, tearing them in half and crushing their heads with his bare hands. The scene ends with the surviving ape-men running for their lives, with Spear ruthlessly chasing down and killing those that attempt to flee.
More Predators Than Prey: In "Terror Under the Blood Moon", the only living creatures Spear and Fang encounter (the raptors, the primitive men, the bats and the Giant Spider) are all carnivores, and the only prey are the boar carried by one of the primitive men and the piles of corpses in the spider's lair. The trope may be justified by the bats overhunting the savannah to feed the spider, which also explains why the raptors are so desperately ravenous and why the primitive men are so thin and sickly.
Never Smile at a Crocodile: A gigantic crocodile, possibly a Deinosuchus, attacks Spear in the beginning of the first episode.
Noisy Nature: All the characters and animals roar and screech very often, up to and including the human character Spear, often just because. In an early scene in the first episode, Spear is menaced by a large pterosaur, and just as it takes off it screams loudly at nothing in particular before it does so.
Non-Malicious Monster: As usual, predatory animals are just that. However, the T. rex Spear injures does bear a grudge against him.
Not So Different: Ultimately why Spear helps Fang. Just like him, she just wants to protect her children. Also just like him, she is ultimately unable to.
Oh, Crap!:
Both Spear and Fang sport a look that personifies this when they see a wall of giant snakes right next to where they are fighting in the second episode.
The monkey-men in the last episode all have this expression at once when they see how brutally a mutated Spear is tearing through all of them.
Only a Flesh Wound: Spear bashes one of the horned tyrannosaurs' legs in with a rock, resulting in a compound fracture, but after a few seconds of screaming it just snaps the leg back into place and keeps attacking like nothing happened, though it does seem to have a limp for the short period it survives after fixing its leg.
Pay Evil unto Evil: The various monsters that cross Spear and Fang's path usually end up brutally slaughtered. The crowning example of this is in Episode 5, where, upon seeing the ape-men kill Fang, Spear drinks their Psycho Serum and goes on a Roaring Rampage of Revenge, tearing them to pieces.
Playing Possum: In Episode 4, after Fang is unable to climb up to the rock spire where the bats took Spear, she pretends to be dead so that the bats carry her up onto the spire as well.
Prehistoric Monster: Most animals appearing in the show are exaggerated in size and are given monstrous features. The first episode alone gives us a giant crocodile, a large and toothy pterosaur and a pack of Tyrannosaurus rex with Ceratosaurus-like horns. The show also contains mammoths twice the size of African elephants, human-sized bats, saber-toothed wolves, vicious ape-men, and a Giant Spider as large as a sauropod dinosaur.
Pretty Butterflies: Spear and Fang encounter a swarm of butterflies in Episode 5. They are among the few animals in the show that are not monstrous, and their presence indicates the peaceful nature of the oasis.
Primal Chest-Pound: Pun not intended. In episode 4, an ape-man pounds his chest while screaming as he charges to the rescue of a tribe-mate. One of the gorilla-like ape-man warriors in episode 5 also does it before clashing with the other combatants.
Primal Stance: Pun, again, not intended. Spear has a somewhat hunched posture stereotypically associated with neanderthals, and occasionally uses his hands during locomotion when charging into a fight. The more primitive hominids appearing in episode 4 move pretty much constantly like this.
Primate Versus Reptile: Episode 5 has a fight between the ape-man warrior Krog who is under the effect of a strength-inducing serum and the tyrannosaurus Fang. The roles are very much inverted, as Fang is sympathetic and one of the protagonists, whereas Krog is the cruel champion of the evil ape-men.
Psycho Serum: The Ape-men in Episode 5 keep a black goo they use to ritually enhance the strength and ferocity to incredible levels. The Ape Champion drinks a single drop and gains enough strength to easily beat Fang in a fight. Spear in turn downs the whole bowl and he turns into a murderous prehistoric version of the Incredible Hulk who can literally rip the apes limb from limb.
Ptero Soarer: A pterosaur (called a "Pterodactyl" in the animatic) appears in the first episode. It can stand bipedally and is five-fingered (it has an additional thumb along with the wing finger and three small fingers).
Raptor Attack: A pack of Jurassic Park-styled dromaeosaurids appear in the fourth episode.
Rated M for Manly: This is a Bloodier and Gorier show about a muscular caveman fighting Prehistoric Monsters.
Reality Ensues:
Spear and Fang seem to be good terms, but as mentioned in Kill Steal above, Fang is still a much larger dinosaur and would definitely need to eat more, even if that meant Spear wouldn't get any share of a kill.
In the second episode, Spear's attempts at using a snake's body to hold him and Fang atop a waterfall quickly fails due to Fang's heavy weight pulling Spear's grip off the body.
Red and Black and Evil All Over: The horned tyrannosaurs that eat Spear's family and later Fang's are a dark shade of red with prominent black stripes. Of course, they're just predators targeting what they think are prey.
Red Eyes, Take Warning: After someone drinks the Psycho Serum in Episode 5, their eyes become completely red (among other changes), signifying that they are now filled with unrelenting bloodlust.
Reused Character Design: Spear looks almost identical to the caveman in the Dexter's Laboratory episode "Old Flame", which was also directed by Genndy Tartakovsky. Cue the "This is him now. Feel old yet?" memes.
Roar Before Beating: Happens a lot, and it often ends up being a fatal mistake for the Monster of the Week as it gives Spear or Fang an opportunity to get a hit in.
Roaring Rampage of Revenge: With the "roaring" often being literal.
In the first episode, after Spear's family is devoured by the horned tyrannosaurs, the caveman follows Fang with the intent to avenge their deaths (despite Fang not being involved in his family's death). Then the horned tyrannosaurs attack Fang and her offspring, and Spear joins the fight slaying two of the tyrannosaurs.
In the third episode Spear and Fang end up on the receiving end of this after they kill an elderly mammoth for food. The mammoths almost crush Fang to death, but when Spear gives back the old mammoth's tusk to their matriarch, they stop attacking.
In the fourth episode, after the giant bats see that their Giant Spider leader has been killed by Spear and Fang, the entire horde immediately sets off after them.
In the fifth episode, after the ape-man champion appears to kill Fang, Spear drinks the ape-man shaman's potion, turns into a Hulk-like monstrosity and slaughters not only the champion, but dozens of the smaller ape-men as well, even when they turn around and start fleeing.
Scenery Porn: The oasis that Spear and Fang find themselves in at the beginning of the fifth episode is absolutely beautiful.
Seldom-Seen Species: Credit is due where credit is due, this might be the only animated work to feature Syndyoceras. Also, the giant bats may be Necromantis (although it was nowhere near the size of the bats in the show). The giant crocodile may be Deinosuchus, and the giant aquatic snakes can be either Titanoboa or Palaeophis (their large size fits the former whereas their aquatic habits fit the latter). Elasmotherium, Synthetoceras, a Thylacine and what appears to be a chalicothere are among the dead animals in the giant spider's nest.
Set a Mook to Kill a Mook: Chased by a horde of bloodthirsty giant bats in Episode 4, Spear and Fang lead them into the tall grass where they are set upon by the raptor pack that had been menacing them in the beginning of the episode.
Shadow Discretion Shot: While the show seldom censors any violence, the horned tyrannosaurs eating Spear's wife and children is only shown in shadows.
Silence Is Golden: Tartakovsky has described it as being his first completely dialogue-free series. Through the series, there is no dialogue, only feral shrieks, grunts, and roars. Makes sense, since there's only one human character of note.
Skeleton Motif: In the 4th episode, Spear and Fang come across a stone pillar with carvings resembling human skulls. They were presumably made by the primitive albino hominids that dwell in the area.
Snakes Are Sinister: Giant snakes, likely Titanoboa, are the main antagonists of Episode 2.
Stuffed in the Fridge: Spear's wife and children get eaten by dinosaurs in the first episode.
Super-Persistent Predator: Every predator that menaces the duo will put their bloodlust over self-preservation every time. Those that attack in groups (such as the raptors in giant bats in Episode 4) will keep on attacking no matter how many of their horde is slaughtered.
Theme Naming: Spear and Fang are both named after their primary weapons.
Thick-Line Animation: The animation has thick black outlines.
Tyrannosaurus rex: Fang, the show's deuteragonist is a Tyrannosaurus with one particularly large lower fang, which provides her name. The antagonists of the first episode are a pack of T. rex with horns.
Weak, but Skilled: Spear is an ordinary human and is able to take on dinosaurs, mammoths, and other dangerous creatures due to his tool making and cunning.
The Worf Effect: Fang is established in the first few episodes as a formidable fighter who can kill beasts larger than herself. So when she's easily beaten by the mammoths in "A Cold Death", the spider in "Terror Under the Blood Moon" and the ape champion in "Rage of the Ape-Men", it demonstrates how powerful and dangerous these opponents are.
Why Did It Have to Be Snakes?: Almost drowning and being eaten by snakes in "River of Snakes" has left Fang with a pathological fear of anything that even resembles a snake. Even a worm, to Spear's bemusement.
Your Size May Vary: There are some inconsistencies about the size of a characters. Fang, in particular, can sometimes appear only 5-6 meters long, while sometimes she's as big as a fully-grown Tyrannosaurus rex.
Alternative Title(s): Primal, Genndy Tartakovskys Primal
Prehistoric Beast
Dinosaur Media
Portrait of a Marriage
The Powerpuff Girls (2016)
Western Animation of the 2010s
Prisoner Zero
Princess Gwenevere and the Jewel Riders
Creator/[adult swim]


text:
Middle Ages Literature
Middle Ages Theatre
Late Middle Ages
Pre-Renaissance
Renaissance Literature
Baroque Narrative
Barroque Verse
Baroque Theatre
Enlightenment Literature
Enlightenment Drama
Romanticism Literature
Romanticism Drama
Modernist Literature
Modernist Drama
XX Century Literature
Franco Era
XXI Century Theatre
HomeSpanish Literature and Theatre OverviewBaroque Narrative
Spanish Narrative of the Baroque
If it is true, as some critics have proposed, that the history of Western art can be traced back to the tension between the more restrained, balanced characteristics of a given period, contrasted to the effusive expression of its contrary, then it could easily be argued that the temperament of Spanish artists has usually flourished during the latter epochs.
For no comprehensive artistic movement is less restrained in emotional expression, and no other period of time would be more fruitful in the history of Spanish art -literature included- than the Baroque. A time of crisis throughout Europe, largely sparked by the religious stir that resulted from the Protestant Reformations and the subsequent Catholic Counter-Reform, the Baroque aesthetic was particularly well received across Spain, where religion, and soon enough crisis, too, were deeply rooted.
In literary terms, the emergence of an ascetic vein among religious orders, extensively developed in the writings of Saint Teresa of Jesus, Saint John of the Cross and Fray Luis de León, comes as a consequence, no doubt, of the questioning that came from the debate sparked by Luther's Ninety-Five Theses.
But parallel to the mystical tendency prevalent in the monastic life in the peninsula, a different phenomenon was on the rise. This corresponds to the emergence of the novel as the favoured narrative form of the time. In this aspect, Miguel de Cervantes was neither an inventor nor a particularly experimental author, but he would become the most remarkable one.
Pastoral Novel
As a matter of fact, the pastoral novel made its first appearance in the literary map towards the beginning of the XVI century, when Italian writers practically hijacked the theme of traditional poetry and developed the pastoral romance or novel. La Galatea, Miguel de Cervantes' first novel, dated as early as 1585, falls squarely on this genre.
While today La Galatea is interesting primarily as a device to study the early style of possibly the most accomplished writer in Spanish language, other incursions by Miguel de Cervantes into the novelistic style are well worth a read. Among them stand out The Works of Persiles and Segismunda, a Byzantine, or adventure, novel, and The Exemplary Novels, which are shorter tales with a moralistic tone.
Needless to say, the crowning achievement of Miguel de Cervantes was his Don Quixote, published in two parts in 1605 and 1615, respectively. Also an adventure novel, Don Quixote sets out to parody the style of the chivalric novel, but in the process the author successfully manages to adopt the most diverse of voices, ranging from the pastoral to the picaresque, in a comprehensive critique that encompasses both the literary establishment and society at large.
However, while Don Quixote is the most important exponent of Spanish narrative of the XVII century, other important writers emerged at the same time and left their mark in the literary landscape of the time. One of them was Francisco de Quevedo. Although primarily a poet, Francisco de Quevedo is most known today for the one novel he wrote, The Swindler, a picaresque tale with a satirical tone published in Saragossa in 1626 and narrated in the first person.
The other outstanding prose narrator among literary figures in Spain at the time was Baltasar Gracián, a Jesuit priest whose El Criticón was highly regarded as an incisive social critique cloaked in the structure of a Byzantine story told by a cynical and misanthropic narrator. Together with Francisco de Quevedo, Gracián developed a clear and direct narrative style that came to be known as culteranismo.
Within roughly fifty years, the progression of Spanish narrative from Miguel de Cervantes' Don Quixote, to Francisco de Quevedo's The Swindler, to Baltasar Gracián's El Criticón was remarkable, producing world classics that to this day are taught in Spanish courses.

redpajama_set_name: RedPajamaCommonCrawl


You like to visit an imaging Core Facility (CF) within the GerBI Job Shadowing initiative. Further details can be found on www.GerBI-GMB.de.
Please note: only the listed CFs have agreed to host a visitor. GerBI-GMB supports also visits to other CFs (Field: Other), but you should have contacted the CF by yourself.


text:
Benefits of Learning a Second Language
by Julie Ellis
I studied French and Spanish in high school. While I did not continue my French study in college, I did take two more years of Spanish and graduated with good fluency. While my motivation at the time was a boyfriend from Mexico attending the same college, and even though that relationship ended, I have never regretted being fluent in a second language. At the time, I was unaware of many of the benefits that are now known, based upon cognitive research.
6 Important Benefits
Career Advantages: People who have fluency in at least two languages (their native and a second one) are in greater demand in the job market, and will often "beat" the competition because of that second language. Any company that has or plans to have an international presence will almost always select the candidate with 2nd language proficiency.
Better Travel Experiences: When individuals speak the native language of countries they visit, they are able to establish immediate rapport with the "locals" and are thus more intimately immersed in the culture, learning things that a typical "foreigner" would not. On several occasions in my travels throughout Central and South America, I was invited into homes for meals and great discussions about politics, economics, and such. My perspectives have certainly been broadened.
Improved understanding of grammatical structure in one's native language: This I discovered first-hand as well. Just learning verb tenses in another language allowed me to identify them in English and made me a better English teacher.
Brain Health: Medical studies now indicate that the part of the brain that controls language function is improved through the learning of a foreign language. More recent studies also indicate that learning a foreign language late in life appears to delay dementia and Alzheimer's. An important study by Dr. Thomas Bak at the University of Edinburgh and replicated at the Perleman Medical School at the U. of Pennsylvania show that the attention mechanisms of the brain area "stretched" and kept active when older adults work on learning a foreign language.
Cognitive Benefits: Studies also show that children who grow up in households in which two languages are spoken and become fluent in both of those languages have greater ability to focus in school. They also appear to have better short- and long-term memory functions. Some studies suggest that students do better on standardized testing, and are better able to remember lists and sequences.
Personal Satisfaction: There is always of feeling of accomplishment when one masters something, and that goes for learning a language. Not only do I feel "accomplished," but I enjoy going to a Mexican restaurant and having the ability to converse with the owners and wait staff in their native language. When I see a Hispanic family at the store, conversing in Spanish, I love greeting the young children and engaging them is simple conversation. Parents are pleasantly surprised and, I believe, feel a bit more respected.
We all know that children pick up a foreign language much more easily than adults, and that is why, of course, such instruction is begun at the elementary levels in most public schools today. But learning languages as adults and senior citizens now appears to have terrific benefits – maybe I'll resurrect my study of French!
Julie Ellis - regular blogger for www.premieressay.net. Having a Master's degree in Journalism and love for traveling, Julie is financed by her freelance writing to investigate and explore exotic places of the world.
Writing systems | Language and languages | Language learning | Pronunciation | Learning vocabulary | Language acquisition | Motivation and reasons to learn languages | Being and becoming bilingual | Arabic | Basque | Chinese | English | Esperanto | French | German | Greek | Hebrew | Indonesian | Italian | Japanese | Korean | Latin | Portuguese | Russian | Sign Languages | Spanish | Swedish | Other languages | Minority and endangered languages | Constructed languages (conlangs) | Reviews of language courses and books | Language learning apps | Teaching languages | Languages and careers | Language and culture | Language development and disorders | Translation and interpreting | Multilingual websites, databases and coding | History | Travel | Food | Other topics | Spoof articles | How to submit an article


VOTED "THE BEST SPOT TO DRINK IN MILWAUKIE"
We invite you to relax, spend time with friends, and unwind after a day's work. Wines are offered by the glass or bottle along with beer, non-alcoholic drinks and a delicious food menu.
Happy Hour Daily 'till 6!


If you're looking for a casual crew neck or a cosy cable knit, shop our range at Zavvi.com and take advantage of our stylishly affordable prices. Make a statement with bold prints or keep it simple with the must have colours of the season. Whatever your knitwear needs, we have them sorted right here, and enjoy free UK delivery.


text:
What would a Donald Trump concession speech sound like? Here are some clues.
By Libby Nelson@libbyanelson Oct 27, 2016, 2:00pm EDT
Share All sharing options for: What would a Donald Trump concession speech sound like? Here are some clues.
Trump conceding the Iowa caucuses.
Scott Olson/Getty Images
Libby Nelson is Vox's policy editor, leading coverage of how government action and inaction shape American life. Libby has more than a decade of policy journalism experience, including at Inside Higher Ed and Politico. She joined Vox in 2014.
Donald Trump hates losing. And right now he looks likely to lose the election.
So how will he react if he does?
One possibility is that he won't concede at all — after all, he's only promised to accept the results of the election "if I win." He's promised he will "look at it at the time" and "keep you in suspense." He's pointed out that he reserves his "right to contend or file a legal challenge, in the case of a questionable result."
Still, it's possible that his threats are just about keeping up suspense. His running mate Mike Pence and campaign manager Kellyanne Conway have said he'll accept the results of the election.
Trump's past performances do not suggest a sudden outbreak of good sportsmanship is likely. He started his campaign calling Mexicans rapists and criminals. He's repeatedly said Clinton is stealing the election. Even in victory, during the primaries, he had a tendency to put down his rivals rather than magnanimously reach out to them.
But to get a better idea of what Trump might do, it's worth looking back at how he conceded during the primary. His string of victories means there are only two real examples to draw on: Iowa and Wisconsin.
In Iowa, Trump held it together on election night but was soon on Twitter pushing conspiracy theories and lashing out at opponents. In Wisconsin, where he lost by double digits, he didn't speak, but a statement from his campaign lashed out at Sen. Ted Cruz, calling him a liar.
Trump's reputation for unpredictability is overrated. He usually reliably responds to similar stimuli in similar ways — which is why Clinton could bait him so successfully during the debates. And when he loses, he doesn't do it gracefully.
Even Trump's "graceful" concession was followed by a rant
The one actual concession speech Trump made during the primaries was surprisingly gracious. But then he reverted immediately back to his old self.
Trump lost 12 states during the Republican primaries. But because many states held primaries on the same day, often those losses came amid even more victories. Trump really only had two nights when he was soundly, unequivocally beaten in a primary he'd contested: on February 1, when Cruz beat him in Iowa, and on April 5, when Cruz beat him in Wisconsin.
When Trump lost Iowa, he didn't insult anyone. He congratulated Cruz. He thanked the people of Iowa and told them they were "special." He didn't suggest the results were rigged. He gave a boring, gracious concession that was notable mostly for not being a crazed rant.
Then, not 36 hours later, he accused Cruz of voter fraud, said he "stole" the election, and called for a do-over:
Based on the fraud committed by Senator Ted Cruz during the Iowa Caucus, either a new election should take place or Cruz results nullified.
Trump was referring to two get-out-the-vote strategies by the Cruz campaign, neither of which was illegal.
The campaign and Cruz supporters suggested that Ben Carson, who appealed to many of the same voters as Cruz, would drop out after the caucuses. (Carson had left Iowa to go home to get clothes and had said he wouldn't campaign in New Hampshire, but he hadn't signaled that he was planning to drop out.)
The Cruz campaign also sent a mailer to Iowa households scoring the voting record of the residents and their neighbors, including labeling some mailers with "Voting violation." The idea was based on political science research that found sending people their past voter records could get them to show up to the polls. But the whole thing was a disaster for Cruz. The voter records weren't even accurate, the recipients were not happy, and the Iowa secretary of state stepped in to suggest Cruz had gone too far.
It's true the Cruz campaign was clearly trying to manipulate voters. So do all political campaigns: Every election is supposedly a battle of ideas, but getting people to show up to vote for you is the whole point of the exercise. It's understandable that Trump might consider the tactics underhanded, but they weren't illegal, and they definitely weren't voter fraud. Trump's eventual reaction to losing was a massive overreaction.
Trump didn't make any kind of public statement when he lost Wisconsin, but his campaign sent out a statement that accused Cruz of violating election laws, called him a "Trojan horse," and referred to him by Trump's favorite nickname, "Lyin' Ted."
No Trump speech, but campaign issues statement on "Lyin' Ted's" WI victory pic.twitter.com/PkXmWpgNhA
— Benjy Sarlin (@BenjySarlin) April 6, 2016
Trump had two other nights when he was a loser: He lost Colorado on April 9 and Wyoming on April 17. Both states selected their delegates through a convention process rather than traditional primaries or caucuses, and Trump hadn't been expected to win because of his weak support among party insiders. This didn't stop him from complaining that Colorado was rigged, which it was not.
It's worth noting that this is how Trump acted about losses that weren't even particularly consequential. Iowa was the first state to express its primary preference, but it's just one state, and Trump was always likely to struggle there; he could recover just fine from a loss there, as indeed he did. Losing Wisconsin by double digits was embarrassing, but Trump still had a massive lead; only the most optimistic NeverTrump Republicans thought Cruz somehow had a chance after his victory in the state.
Losing a presidential election is a lot more final. And the way Trump acted in Iowa and Wisconsin suggests he won't take a loss well. The pressure on him to concede will be fierce — but the best-case scenario seems like a begrudging speech, followed, more likely than not, by angry tweets.
The four elements of a good concession speech
Trump benefits from the soft bigotry of low expectations. So any speech where he 1) acknowledges that he lost, 2) doesn't say he'll contest the results, and 3) congratulates Hillary Clinton is likely to be portrayed as a triumph of civility and statesmanship.
Usually, though, observers expect a little bit more from concession speeches. Scott Farris, a historian and political analyst who has studied losing presidential candidates, broke down the steps in a good concession speech to the Washington Post in 2012, and Paul Corcoran, a professor of politics at the University of Adelaide, did the same in a 1994 paper. They agreed on the basic elements:
Actually concede. Acknowledge the result of the election and congratulate your opponent on his or her victory. This is a way of demonstrating that the results are legitimate. (Admitting that someone else won is much more common than admitting you lost.)
Call for unity. Refer to the winner as "my president," "your president," or "everyone's president."
Praise democracy. Say something like "the people have spoken."
Rally the troops. Reiterate your campaign's message, explain why it was worth fighting for, and call for your supporters to stay involved. Sen. Ted Kennedy's speech when he lost the 1984 Democratic nomination is the ultimate example: "The work goes on, the cause endures, the hope still lives, and the dream shall never die."
That's a lot to expect from someone who is probably having the worst night of his professional life. Making it more complicated is the fact that, as two former speechwriters told NPR in 2012, prewriting a concession speech is so fraught on the campaign trail that many campaigns just don't do it because it seems like giving up.
That means candidates can end up speaking off the cuff or giving hastily prepared remarks. Even with candidates who are far more controlled with Trump, that doesn't always turn out well: Mitt Romney, who apparently believed he was winning in 2012, didn't prepare a concession speech. His remarks barely checked the four boxes, and they were particularly light on national unity.
John McCain's 2008 speech, widely considered one of the best modern concession speeches, was prewritten, perhaps because the likely result of the election was clear before voters went to the polls. The fact that Trump is lagging far behind Clinton suggests that his speechwriters, if they wanted, could follow up with another great example. They'd just have to persuade their candidate to deliver it.
Trump rarely gives in to the discipline of a teleprompter for very long, and he's still insistent that he's going to win — and that if he doesn't, the election is rigged. These aren't exactly the ideal conditions to produce a unifying election night message.


text:
Q: Java. How to generate what's left over I'm working on a program which will generate a random month and year and then when it does will show what months are left over but just in this year for example 2016 January comes up so prints Feb-Dec 2016. I've created the random generation but I don't know how to create the line to show up whats left over.
public class months {

    public static void main(String[] args) {
        String[] years = {
                "2017", "2016", "2015", "2104"
        };

        String[] months = {
                "Januay", "Febuary", "March", "April", "May", "June", "july", "August"
                , "september", "october"};

        }
        // initialize months

        int i = (int) (Math.random() * months.length);
        int j = (int) (Math.random() * years.length);
        System.out.println(months[i] + " of " + years[j]);
        System.out.println("The remaining months left in that suit are:");

        //print out rest of remaining months in that year
    }
}

any helps or tips would be greatly appreciated or could links where I could look to discover. Brand new to java and just playing around.

A: Primitives & arrays
Loop through months, starting at chosen month
Loop through your array of month names. Start the loop at the randomly chosen element number rather than at 1.
I revamped your code to use better variable names, and to fill your list of months to complete the year (you were missing Nov-Dec).
String[] years = {
        "2017" , "2016" , "2015" , "2104"
};

String[] months = {
        "Januay" , "Febuary" , "March" , "April" , "May" , "June" , "july" , "August" , "september" , "october" , "November" , "December" };

int n = years.length * months.length;
String[] deck = new String[ n ];
for ( int i = 0 ; i < months.length ; i++ )
{
    for ( int j = 0 ; j < years.length ; j++ )
    {
        deck[ years.length * i + j ] = months[ i ] + " of " + years[ j ];
    }
}

Generally better to use the newer ThreadLocalRandom class for generating pseudo-random numbers rather than Math.Random, especially if there is any chance of this code running in multiple threads. Beware that neither of those classes provide a cryptographically-strong random number, as noted in the class JavaDoc.
// Choose random month and random year.
int monthIndex = java.util.concurrent.ThreadLocalRandom.current( ).nextInt( 0 , months.length ); // ( inclusive , exclusive )
int yearIndex = java.util.concurrent.ThreadLocalRandom.current( ).nextInt( 0 , years.length ); // ( inclusive , exclusive )
System.out.println( months[ monthIndex ] + " of " + years[ yearIndex ] );

Now we can solve your problem. Loop the months array, but instead of the first argument to the for statement setting the counter to zero or one, set the counter to one past your randomly-chosen number.
Note that the chosen number might be the last month, index 11, for month of December. In such case there are no remaining months to report. So we add a test for this special case.
System.out.println( "The remaining months left in that suit are:" );
//print out rest of remaining months in that year

if ( monthIndex == months.length )
{
    System.out.println( "No more months remaining after " + months[ monthIndex ] + " " + years[ yearIndex ] );
} else
{
    // Loop through each of the remaining months.
    // Strarting with first month *after* the chosen month, so adding one to the starting index.
    for ( int m = ( monthIndex + 1 ) ; m < months.length ; m++ )
    {
        System.out.println( months[ m ] + " of year " + years[ yearIndex ] );  // Print chosen year with each remaining month.
    }
}

october of 2017
The remaining months left in that suit are:
November of year 2017
December of year 2017

Objects & collections
Having answered your direct question, let's look at a more pleasant and practical way to handle your problem using modern classes and collections rather than primitives and arrays.
We can use the Year class for objects rather than mere numbers or strings.
We can use the Month enum for objects rather than mere strings.
To represent the combination of a particular month in a particular year, we use the YearMonth class.
We can use Set interface and EnumSet concrete implementation, and also List/ArrayList, rather than simple arrays.
// YEAR ***************
List < Year > years = new ArrayList <>( 4 );
years.add( Year.of( 2017 ) );
years.add( Year.of( 2016 ) );
years.add( Year.of( 2015 ) );
years.add( Year.of( 2014 ) );

int yearIndex = ThreadLocalRandom.current( ).nextInt( 0 , years.size( ) ); // ( inclusive , exclusive )
Year year = years.get( yearIndex );

// MONTH ***********
Set < Month > months = EnumSet.allOf( Month.class );  // EnumSet should be marked as implementing `SortedSet` but mysteriously is not. It does return its always in a particular order,  in which defined in the Enum. So our months here will be ordered Jan-Dec as we expect.
int monthIndex = ThreadLocalRandom.current( ).nextInt( 0 , months.size( ) ); // ( inclusive , exclusive )
Month month = new ArrayList <>( months ).get( monthIndex );  // Make a `List` from `Set` to be able to conveniently pick a certain one by index number.

// YEAR-MONTH *************
YearMonth chosen = YearMonth.of( year.getValue() , month );
System.out.println("chosen: " + chosen );

// REMAINING ************
// Remaining year-month values to finish out the chosen year after the chosen month.
List < YearMonth > yearMonths = new ArrayList <>( months.size( ) - monthIndex );  // Collect results of our report generation.
Set < Month > remainingMonths = EnumSet.range( month , Month.DECEMBER );
for ( Month m : remainingMonths )
{
    // Skip first month, as we want only the months *after* the chosen month.
    if ( m.equals( month ) )
    {
        // Skip. No code needed here.
    } else
    {
        yearMonths.add( YearMonth.of( year.getValue( ) , m ) );  // Instantiate a YearMonth object from our chosen year number and this nth remaining month of year.
    }
}

// REPORT ******************
System.out.println( "yearMonths: " + yearMonths );

// Pretty-print the name of the month in English along with year number.
for ( YearMonth ym : yearMonths )
{
    System.out.println( ym.getMonth( ).getDisplayName( TextStyle.FULL , Locale.US ) + " of " + ym.getYear( ) );
}

chosen: 2016-10
yearMonths: [2016-11, 2016-12]
November of 2016
December of 2016

redpajama_set_name: RedPajamaStackExchange


Borrowing heavily from the school of Bauhaus, the designer sent out looks that were geometrical in essence, but never bulky.
Borrowing heavily from the school of Bauhaus, the designer sent out looks that were geometrical in essence, but never bulky. Fine knits paired with informal suits had an urban feel, while the elaborate padding technique employed on some motorcycle-style coats and jackets oozed with modernity. Composed in mustard, petrol, gray and navy, the collection was sleek and simply elegant.


4 mil. Double Matte Erasable Film. This heat stabilized film resist warping and shrinkage with an erasable surface. When translucency and heat stability are required to produce crisp clean print for archivability.
Click the button below to add the Mylar Film 36" X 150' 4 mil Roll 3"core to your wish list.


text:
Q: User input into a string Python 2.7 I'm trying to enter user input into a string in two places in python 2.7.12
I want it to look something like this
    import os
    1 = input()
    2 = input()
    print os.listdir("/home/test/1/2")

I know you can use .format() to input into string but the only way I know how to do it is
    print os.listdir("/home/test/{0}".format(1))

but I couldn't figure out how to enter a second input into the string.
sorry for any confusion, I'm kinda new to Stack Overflow. If you have any questions please ask.

A: import os
segment1 = input()
segment2 = input()
print os.listdir("/home/test/{}/{}".format(segment1, segment2))

1 and 2 are not legal variable names, so 1 = input() will cause an error.
You can use as many variables as you want in your format string; just pass them as additional parameters to .format(...). In the format string, you can use {0}, {1}, etc., or you can just use {} positionally. (The first {} refers to the first parameter, the second {} to the second parameter, etc.).


text:
# Oct 1, 2013
Wandering Spirits: Traveling Mary Shelley's Frankenstein
The Final Letter
S.J. Chambers
The following is the final part of S.J. Chambers's column recalling her journey to various geographic locales featured in the novel Frankenstein. Although not totally necessary of this piece, we recommend reading the first installment, as well as the second, if you haven't done so yet. – The Editors
Manotel Royal, Geneva, Switzerland
June 7, 20—
Dear R – ,
I have been to Chamonix and Mont Blanc. I don't know if it is lack of oxygen from ascending the mountain, or the Bandol I imbibe while writing this, but I'm elated. I feel like I finally found what I was seeking! It would make sense that it would be at the Mer de Glace, since the Glace itself features so prominently in the book's scenery.
Frankenstein has been popularly characterized as a parable against man playing God, presuming that there was a God who made man; however, the theological views of its author do not support such an interpretation. Mary Shelley came from a famously atheist family, and married an even more notorious skeptic. But, even so, there is within Frankenstein a looming mysticism stemming from Romanticism's concept of sublimity.
While the other romantic poets such as Coleridge and Wordsworth regarded nature as the glorious evidence of a Christian God, Percy perceived a nourishing and destructive force reflective of man's imagination. His ode "Mont Blanc: Lines Written in the Vale of Chamonix"[1] expresses this view and replaces religion with nature, establishing a moral code that Mary expands upon in Frankenstein's later editions.
Creation is a monstrous act. Be it success or failure — it can be something suddenly in the world when a few seconds before it was not — it could be beautiful, it could be hideous, but most importantly it now exists — and the consequences of its existence can be quite substantial. There are myriad ways to interpret Frankenstein, but this is its essence — its germ of suggestion, and its mass appeal anchor. All too often, we callously create, and lack the foresight or understanding that once it is in the world it is out of our control. This is true of art, of philosophy, of parenthood, and of government. The creature you make may break you.
While it may seem like hyperbole, Frankenstein illustrates examples of all of these aspects and pulls into focus the question: What is a monster? It is that which we cannot control. It is a sublime notion, and also somewhat archaically reliant upon a belief in fate. This was not evident in the first edition of her Modern Prometheus, which was written under Percy Shelley's supervision and politics, but by 1831, Mary had become confident in her own individual vision:
"Fate replaces individual choice in the 1831 edition, a revision which is heavily underscored by Mary's enrollment of nature as a giant force, as implacable as the monster. In the 1818 version, Victor saw the glacier at Chamonix only as a wonderful spectacle; in that of 1831, he is aware of 'the blind working of immutable laws'.…"[2]
It was these "immutable laws" that I sought. Raised, like most other readers, on the 1831 edition that was ultimately Mary's final revision of a romantic manifesto, I could revel in the landscaped prose, but not really understand it from the sheltered quarters of my bedroom walls. But today, seeing the scenes for myself, I finally got it.
When Victor flees Belrive for Chamonix, he seeks the spiritualism unfounded within science: "The weight upon my spirit was sensibly lightened as I plunged…deeper in the ravine of Arve. The immense mountains and precipices that overhung me on every side, the sound of the river raging among the rocks, and the dashing of the waterfalls around spoke of a power mighty as Omnipotence — and I ceased to fear or to bend before any being less almighty than that which had created and ruled the elements."[3] Invigorated by the scenery, Victor feels himself part of this Omnipotence, since he has created life, but he is rudely awakened by the weather and by his creation.
I found the Alps moody. When it is sunny, the snow is glaring and luminescent, making the peaks underneath radiate with an omnipotent quintessence. When it rains, they become dark, stark, and veiled with misty and solemn judgment. The rain approaches slowly, misting over the aiguilles, the condensation gradually taking on the mountains' hues, until they blend together in sfumato ghostliness.
While I believe this a daily climate cycle, Victor reads this moodiness as a verdict on his actions, and finds Nature — especially within the deified Mont Blanc — apathetic: "… All of soul inspiriting fled…dark melancholy clouded every thought. The rain was pouring in torrents, and thick mists hid the summits of the mountains, so that I even saw not the faces of those mighty friends."[4]
Chamonix was also an escape for Mary and her family. When Claire learned she was with Byron's child, the family retreated to the Mountain village, where distance from Byron would allow them to plan around his growing disinterest. Traveling by foot and mule, it took the family three to four days to traverse the 82 kilometers between the Villa and the mountain village. This trek largely informed Mary's novel, including a night in Plainpalais, where the creature's first murder occurs, and provided Victor's route.[5]
There are many ways to follow Victor from Geneva to Chamonix, but perhaps the quickest and most efficient is with the Key Tours S.A. company[6], which offers routes comparable to that of Frankenstein's journey through the countryside. Via the bus' panoramic windows, what little is left of the Plainpalais forest can be glimpsed, including the Mt. Saleve cliffs the creature traversed in twenty minutes, and L'Arvre's silty grey rapids rushing under roadways, railways, and bridges.
The view of the Alps on the bus from Geneva to Chamonix.
In the background, the Alps reign with rolling green hills that gradually fade into snow-dusted crags until the stark white of Mont Blanc bleaches the landscape of Chamonix, which Frankenstein describes as entering a different world: "The high and snowy mountains were its immediate boundaries, but I saw no more ruined castles and fertile fields. Immense glaciers approached the road; I heard the rumbling thunder of the falling avalanche and marked the smoke of its passage. Mont Blanc, the supreme and magnificent Mont Blanc, raided itself from the surrounding aiguilles, and its tremendous dome overlooked the valley." [7]
At 4,810 meters (15,781 feet above sea level),[8] Mont Blanc is Western Europe's largest mountain, and its thick and endless sheets of snow and ice, punctuated by shadowy aiguilles, make it a living poem of beauty and terror. No wonder Shelley chose it as the subject of his existentialism, and Mary chose it as her novel's omnipotent patron saint.
Mont Blanc from the L'Aiguille de Midi viewing platform, where climbers scaling the mountain look like periods in an ever-winding ellipse through time.
Tourists can view Mont Blanc's summit by taking a lift to L'Aiguille de Midi's hiking station, then catching "The Rocket," a sonic elevator that shoots jam-packed tourists up and out on a viewing platform at the White Mountain's peak. From here, the view is sublime, and — despite being riddled with tourists taking pictures and ooo-ing and ah-ing — it is a lonely experience. Climbers scaling the mountain look like periods in an ever-winding ellipse through time, part of which we all punctuate, including the tourists here in 20– and the Shelleys in 1816. It is in this eternal static that Victor finds comfort in: "I had visited it frequently during my boyhood. [Now]…: I was a wreck, but naught had changed in those savage and enduring scenes."[9] However, Victor's pilgrimage did not include a scaling of the mountain, but a descent to its moving glacier, Mer de Glace, where he is accosted with the horrible truth that everything has in fact changed, and he changed it.
The Shelleys and Frankenstein had to descend Montenvers to the Mer de Glace by mule, a trek so unsteady and precipitous that Shelley almost fell down the mountain. The glacier was well worth the peril, as he described in a letter: "On all sides precipitous mountains, the abodes of unrelenting frost, surround this vale: their sides are banked up with ice and snow, broken, heaped high, and exhibiting terrific chasms…. The waves are elevated about 12 or 15 feet from the surface of the mass, which is intersected by long gaps of unfathomable depth, the ice of whose sides is more beautifully azure than the sky…. One would think that Mont Blanc, like the god of the Stoics, was a vast animal, and that the frozen blood for ever circulated through his stony veins."[10]
The life taking tourists to the Mer de Glace. You can measure how much the glacier has moved by its drill holes.
Fortunately, that path has been made easier for tourists. From Chamonix, a train takes visitors up 1,913 m (6,276 feet)[11] within a half-hour to the Montenvers train station, where a lift takes visitors down the vale to the moving glacier.
In the previous quote describing Victor's arrival to Chamonix, he mentions seeing the icy-sea from his lodgings, but it has not been visible from the village since 1820, and has continuously shrank about 2 km (1.24 miles) every year since the 1850s.[12] Even so, it is still massive enough, 200 meters (656 feet) thick on average, that a cave, known as the Ice Grotto, can be drilled out every summer to allow exploration of the ice's inner beauty, with the bonus of a visual reference to the steady but imperceptible flowing of the glacier, which moves about 70 meters (0.04 miles) every year.[13]
Inside the Ice Grotto.
The Grotto is dazzling despite being filled with tourist cheese like ice sculpted furnishings among carved-out bedrooms and kitchens, and even an overpriced photo opportunity with a St. Bernard. But, kitsch aside, the main attraction is the preternatural coloring inside the glacier. Outside, the glacier appears filmy — a pale blue emanating from underneath snow, dirt, rocks, and gravel — but inside the ice is the crystalline mixture of a sapphire robustness with aquamarine clarity.
Victor, of course, never experienced the ice's interior, but rather relished its exterior isolation: "…My heart, which was before sorrowful, now swelled with something like joy; I exclaimed, 'Wandering Sprits, if indeed ye wander, and do not rest in your narrow beds, allow me this faint happiness, or take me, as your companion, away from the joys of life.' As if in answer, Victor "… suddenly beheld the figure of a man, at some distance, advancing towards me with superhuman speed. He bounded over the crevices in the ice, among which I had walked with caution…."[14]
Victor's reunion with his creature is one of Frankenstein's more crucial scenes. Right before the confrontation, he describes the area as a temple, with Mont Blanc looming supreme over Frankenstein and the vast sea of ice: "…From the side where I now stood Montenvers was exactly opposite, at the distance of a league; and above it rose Mont Blanc, in awful majesty…. The sea, or rather the vast river of ice, wound among its dependant mountains, whose aerial summits hung over its recess…." Although Victor retreats to Chamonix to clear his conscience, the mountain's mysticisms seem to apathetically reflect his attempts to thwart nature back into his face, and damn him by reuniting him with his Creature.
Judgment rolls in.
While I've written above about the Alps' moodiness, I didn't witness this atmospheric judgment (as Victor saw it) until returning back to Chamonix on the Montenvers train. As the scenery became obscured by pouring rain, I thought about the conflict that transpired under the King of the Mountain's court: the Creature confides his sensible and intellectual experiences to his Father, and in true bad-dad fashion, Victor disavows him, declares him a disappointment, and declares him a monster. That declaration not only damned the Creature into further crimes and mayhem, but into a reputation of infamy and further misunderstanding in our popular culture.
In the Universal films, you travel through the creatures eyes, watch his development toward monstrosity but with no clue to his inner workings — he remains practically deaf and mute to the audience. He is forever embryonic. In Branaugh's adaptation, you get a sense of the inner travel; however, people seem to prefer a dumb brute. Having seen Mary Shelley's face flash on a TV screen at the train platform, I queried my tour guide about his knowledge of the Creature and Mont Blanc, and he thought I was referring to the Villa Diodati.
"No," I said. "Frankenstein was also set here — ." He cut me off with a scoff, "Oh, yes, yes, the monster scales Mt. Salave in twenty minutes or something ridiculous like that." He then mused for a moment while helping an old woman onto the bus. "You know, the Universal monster films had the right idea. The public do not want a philosophical monster; the studios were right to mute him."
Were they? Was it because in the book the Creature was a lateral man with a story most people, even those who made him thus, wanted to ignore because it was uncomfortable to believe? His world isn't big — his society is filled with a few people, none who gel with him, and therefore leads to an existence frustrated and exacerbated by misunderstanding and irresponsibility.
Moving away from the storm. This was taken through the train window and uses no filters.
I chose to follow Victor rather than the Creature because the Creature's journey is not locked into sites like his creator, but has a geography of emotions — a child's map of his mental development that is very much Shelley's conte philosophie for Rousseau's thoughts on education, companionship, equality, and the noble savage. For a long time, he has no real sense of where he is and he is uninterested in the sublime. He is of nature, and he doesn't have to admire it or be against it, he is it.
But even so, there is the Black Forest in-between Ingolstadt and Geneva that shaped the Creature and made him the philosophical monster we all ignore. If I ever get to repeat this tour, it'll be the Creature's maps I draft and follow.
Oh, how late it is getting! How long this letter has grown, and how low the Bandol! I will close this with my wandering spirit sated and return to you soon.
Exhaustedly,
[1] "Mont Blanc: Lines Written in the Vale of Chamonix" was first published in the travelogue A History of a Six Weeks Tour Through a Part of France, Switzerland, Germany, and Holland: With Letters Descriptive of a Sail Around the Lake of Geneva and of the Glaciers of Chamonui. Published in 1817, it would be the only published collaboration of the couple, and collects letters and journals of their two Grand Tours together. Many of the descriptions and sentiments here would be repeated in Frankenstein.
[2] Seymour, Miranda. Mary Shelley. New York: Grove Press. 2000. Pp. 407
[3] Shelley, Mary. Frankenstein. Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde: With an Introduction by Stephen King. New York: Signet Classic. 1978. Pp. 90.
[4] Ibid. Pp. 92
[5] Accounts of this trek are depicted in the letters in of the Shelley's History of a Six Weeks Tour Through a Part of France, Switzerland, Germany, and Holland: With Letters Descriptive of a Sail Around the Lake of Geneva and of the Glaciers of Chamonui. London: T. Hookham, Jun and C. and J. Olliver. 1817.
[6] The tour group also arranges for all your ticketing and transportation needs, as well as a nice, Swiss lunch so your time is utilized more sightseeing than standing in lines.
[7] Shelley, Mary. Frankenstein. Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde: With an Introduction by Stephen King. New York: Signet Classic. 1978. Pp. 90
[8] Chamonix*net. "Mont Blanc Climb." Chamonix Networks. http://www.chamonix.net/english/mountaineering/mt_blanc_climb.htm. Accessed September 18, 2013.
[10] Shelley, Percy and Mary. History of a Six Weeks Tour Through a Part of France, Switzerland, Germany, and Holland: With Letters Descriptive of a Sail Around the Lake of Geneva and of the Glaciers of Chamonui. London: T. Hookham, Jun and C. and J. Olliver. 1817, Pp. 166 – 167
[11] "Chemin de fer du Montenvers [sic]." Wikipedia. http://en.wikipedia.org/wiki/Montenvers_Railway Accessed September 18, 2013.
[12] Nussbaumer, S. U., H. J. Zumbühl, and D. Steiner (2007): Fluctuations of the Mer de Glace (Mont Blanc area, France) AD 1500 – 2050. Part I: The history of the Mer de Glace AD 1570 – 2003 according to pictorial and written documents. Zeitschrift für Gletscherkunde und Glazialgeologie, 40(2005/2006), 5 – 140. http://www.geo.uzh.ch/~snus/publications/dipl_summary.pdf Accessed August 18, 2010.
[13] Chamonix*net. "Mer de Glace." Chamonix Networks. http://www.chamonix.net/english/sightseeing/mer_de_glace.htm. Accessed September 18, 2013.
[14] Shelley, Mary. Frankenstein. Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde: With an Introduction by Stephen King. New York: Signet Classic. 1978. Pp. 94
S. J. Chambers has published fiction and non-fiction in a variety of venues including Mungbeing magazine, New Myths, Yankee Pot Roast, and in the World Fantasy-nominated Thackery T. Lambshead's Cabinet of Curiosities (HarperCollins, 2011), the recently released Zombies: Shambling Through the Ages (Prime Books, 2013), and the forthcoming Starry Wisdom Library (PS Publishing, 2014). Ramblings and bookish sundries can be gleaned at www.selenachambers.com.


text:
Home ModeRedcarpet CALVIN KLEIN at The 90th Annual Academy Awards
CALVIN KLEIN at The 90th Annual Academy Awards
by pascal iakovou 9 avril 2018 31 mars 2018
by pascal iakovou 9 avril 2018 31 mars 2018 0 comment
CALVIN KLEIN WARDROBED SAOIRSE RONAN, JORDAN PEELE AND LAURA DERN FOR THE 90TH ANNUAL ACADEMY AWARDS®
NEW YORK, NY, MARCH 4, 2018 – Calvin Klein, Inc. today announced that CALVIN KLEIN wardrobed actress Saoirse Ronan; director, producer and actor Jordan Peele; and actress Laura Dern for their appearances at the 90th Annual Academy Awards® hosted by the Academy of Motion Picture Arts and Sciences at the Dolby Theatre in Hollywood, California. Each of their looks was designed by Raf Simons, Chief Creative Officer of Calvin Klein, Inc.
Ms. Ronan, who is nominated for the Academy Award for Best Actress in a Leading Role for her part in the film Lady Bird, which is nominated for Best Picture, wore a CALVIN KLEIN BY APPOINTMENT pink silk faille strapless dress with a voluminous bow.
Mr. Peele, who is nominated for the Academy Award for Best Director for his film Get Out, which is nominated for Best Picture and Best Original Screenplay, wore a CALVIN KLEIN 205W39NYC white wool blend peak lapel jacket with a white poplin dress shirt, black satin bow tie, and black tuxedo pants.
Ms. Dern, a presenter, who serves on the Board of Governors of The Academy of Motion Picture Arts and Sciences, wore a CALVIN KLEIN BY APPOINTMENT white silk crepe dress with a draped tie at the shoulder. Ms. Dern also wore CALVIN KLEIN 205W39NYC bordeaux asymmetrical crystal sandals and carried a sterling silver evening bag.
Calvin KleinJordan PeeleLAURA DERNSaoirse Ronan
Heidi Klum in GEORGES HOBEIKA Couture at the 26th Annual Elton John AIDS Foundation Academy Awards Viewing party
Celebrities at Roberto Cavalli FW18
Lala Rudge looked ravishing in GEORGES HOBEIKA at...
VICTORIA'S SECRET ANGELS JOSEPHINE SKRIVER AND ROMEE STRIJD...
Chadwick Boseman in Givenchy
Charlize Theron lors d'une projection spéciale du film...
Festival de Cannes: Jaeger-LeCoultre: Exposition « L'Art des coulisses »
Sam Smith in Givenchy – BBC Music Biggest...
BRACELET TANGO POMELLATO DANS LE FILM « FRANKIE » AVEC...
DIOR & GUGGENHEIM INTERNATIONAL GALA FUNDRAISING EVENT
DIOR PRESENTS KYLIAN MBAPPÉ
Lola Kirke lors de la projection du film...


The National Transportation Safety Board's big, bold stroke encouraging all states to prohibit drivers from using cell phones faces a long, tortuous process in the nation's statehouses, experts said Wednesday.
This political reality stands out: Since states began legislating distracted driving or cell phone use in 2000, none has gone so far as to impose a complete ban on mobile devices behind the wheel, and only one state -- Alaska -- has considered such a blanket prohibition, just this year, said Anne Teigen, senior policy specialist with National Conference of State Legislatures.
Barbara Harsha, executive director of the Governors Highway Safety Association, said opponents don't like big government intrusions and savor their personal freedoms.
"This is a controversial issue so you can assume it's not going to pass right away," Harsha said. "It's going to take a long time for legislatures to pass laws, and a long time for states to begin to enforce the laws, and then a long time for behavior to start to change.
"The first seat-belt law was passed in the mid-'80s, and we're now at 84 percent of drivers who are buckled up nationwide," even though all states now have laws requiring drivers and passengers to wear seat belts, Harsha said.
"People like to be connected. They like to respond to e-mails and voice mail," Harsha said.
States won't embrace such a blanket ban recommended by the NTSB, said David Adkins, executive director and CEO of The Council of State Governments. Lawmakers believe that constituents and trade groups alike view such a total ban as excessive, he said.
Debbie Hersman, chair of the NTSB, on why the group recently recommends banning all electronic devices in a car.
Rep. Paul cracks a few jokes as he questions why there are proposed federal laws to ban the use of cell phones in cars.
"It's just one of those things that would be the equivalent of the 18th Amendment today. It's a Prohibition that would not work," Adkins said.
"I don't believe most state lawmakers would say (the NTSB recommendation) is viable," Adkins said. "To check to see what's for dinner and who's going to pick up the kids, those are so ingrained as conveniences in our daily lives, to say that we're not going to allow you to connect, that seems so unrealistic."
Still, Adkins praised the NTSB initiative as "boldly aspirational."
"If it gets people's attention, it will do good," he said. "I just hope they pursue their campaign through cooperation and collaboration rather than preemption or mandates on the states, in other words forcing it down the states' throats."
NTSB chairwoman Deborah Hersman acknowledged that the recommended ban is "a challenge" that "will take some time." Another NTSB board member said the proposal's target -- distracted driving -- is "the new DUI."
"I know how difficult this is because I used to talk on my phone, as well, until I understood the dangers of it," Hersman told CNN on Wednesday. "And I'll tell you, when I hung up my phone and stopped talking on the phone while I was driving, it was like becoming sober and seeing that everyone around you was drinking. You notice the people who are distracted."
In the past 10 years the NTSB has increasingly sought to limit the use of portable electronic devices -- recommending bans for novice drivers, school bus drivers and commercial truckers. Tuesday's recommendation, if adopted by states, would outlaw nonemergency phone calls and texting by operators of every vehicle on the road.
The initiative would apply to hands-free as well as hand-held devices, but devices installed in the vehicle by the manufacturer would be allowed, the NTSB said.
The Governors Highway Safety Association, which represents state highway safety agencies in all 50 states, the District of Columbia and Puerto Rico, hasn't taken a position on the NTSB recommendation because the association would like to see more research.
"There's conflicting evidence" on whether hands-free cell phone conversations would be as unsafe as those by hand-helds, Harsha said, adding that more "definitive research" is needed. "If it shows both are unsafe, then a total ban may make the most sense," she said.
So far, nine states and the District of Columbia prohibit hand-held cell phones while driving, Teigen said. A 10th state, Utah, has deemed speaking on a hand-held phone as a careless driving offense if it is accompanied by another moving violation, Harsha said.
Thirty states and the District of Columbia prohibit novice drivers and teenagers from using cell phones while driving, but no state has imposed such a ban on all drivers, Teigen said.
One cell phone industry group supports states' ban on texting while driving -- a law enacted in 35 states and the District of Columbia, according to the National Council of State Legislatures.
But the CTIA-The Wireless Association didn't take a position on the NTSB's recommended ban on cell phone conversations behind the wheel.
"Manual texting while driving is clearly incompatible with safety, which is why we have historically supported a ban on texting while driving. As far as talking on wireless devices while driving, we defer to state and local lawmakers and their constituents as to what they believe are the most appropriate laws where they live," Steve Largent, president and CEO of the industry group, said in a statement.
In Alaska, state Rep. Mike Doogan, a Democrat, this year proposed legislation that would ban using a cell phone when driving, but the measure died, he said.
"I'm very happy to see that the NTSB has taken notice of what is clearly a problem that basically anyone who is on the road can recognize themselves. It's important that a national organization is getting involved. Otherwise, it's a state-by-state slog, and that slog hasn't been going so well, including in Alaska," Doogan said.
The federal government last month banned interstate truck and bus drivers from using cell phones while driving. A violation carries a federal fine of $2,750.


text:
3D Geolocation is the latest in Nokia's plans
Julie Campbell | July 18, 2014 | Featured News, Geolocation Technology, Technology News | No Comments
The company has announced its intentions to combine its service expertise with location based tech.
Nokia has now announced that bringing its existing services expertise with the latest in 3D geolocation technology will bring the company the capability for offering profound insight into the performance and traffic trends being experienced over mobile networks.
This move will be the outcome of a number of different acquisitions that Nokia has recently made.
Over the last few months, Nokia Corporation has absorbed a number of different companies, among which the most recent was the 3D geolocation technology company called Nice Systems Ltd. That business provides surveillance and security and is based in Israel. Nokia, based in Finland, has stated that this acquisition would help them to better the optimization and planning of mobile networks.
The purchase of the 3D geolocation technology could also help to enhance the tools and expertise of Nokia Networks.
By obtaining this location based technology, the company feels that its Nokia Networks business will be able to build on its technical expertise and tools as well as to dive much more deeply into the development of capabilities within that ecosystem.
According to the Nokia Networks head of network planning and optimization of global services, Dennis Lorenzin, "Advanced network planning and optimization services are at the forefront of Nokia Networks' strategic services to mobile operators. The evolution of small cells and LTE necessitates more accurate 3D geolocation capabilities. Nokia Networks intends to enhance this unique solution in order to offer superior services to our customers, regardless of which network gear they use.
Dror Nemirovsky, the head of ecosystem venture at Nokia Networks, explained that the company intends to create an Israeli competence center and will further grow its future portfolio based on 3D modeling while it boosts its automation services.
Recently, the Finnish company also took in SAC wireless, which was a network deployment and infrastructure solutions provider based in the U.S. This move was made to help to enhance Nokia Networks' market share within the network implementation space. It was meant as a complement to the company's existing expertise held in-house.
Tags:3D Geolocation, 3D geolocation technology, geolocation nokia, geolocation technology, location based technology, Nokia, Nokia geolocation, Nokia Networks, Nokia technology news, technology news
Is your target market embracing QR codes?
Fingerprint Mobile Biometrics Market 2016 to grow at a CAGR of 215.49% during the period to 2020
Geolocation technology from Qualcomm could change everything
Data plans from AT&T are now offering double the plan size
About Julie Campbell: With a solid background in writing and translation Julie has built her career on digging up fascinating and hard-hitting news stories. For over a decade, she has focused on the impact of technology on the world of commerce and has taken a specific interest in emerging mobile channels. Follow on Google+


Ask for assistance -travel agents itching to help!
Did you know that if you're a Sanlam Reality member you can SAVE up to 25% on Mango flights?
Sanlam Reality is a lifestyle program available to all Sanlam Group members. The program aims to encourage a healthier lifestyle by offering you money back on certain purchases and several other benefits.
Any client of the Sanlam Group can become a Reality Member for a small fee. There are various fee options available for Multiply Members with benefits increasing as the fee does.
Sanlam Reality members can get up to 25% off selected flights on Mango Airlines. When you're booking at Mango enter your Sanlam Reality number, ID or passport number in the space indicated in the picture below (on the right hand side of the Mango bookings engine, at the bottom).
Then you carry out a search for your flight and you see all the discounted fares. Depending on which type of membership you've got, you'll get different rewards. Reality Standard members only get up to 15% off on up to 5 return tickets or 10 single tickets. Reality+ and Reality+Gym members can get up to 25% discount on up to 20 single or 10 return tickets.
Please note that you won't be able to make changes to bookings made using your Sanlam Reality membership at the same cost. You will have to pay an administration fee and lose the discounted ticket. There is a dedicated Reality Travel desk to help you make any changes. Best insure all the details are correct before booking!
For assistance with booking, phone 086-100-1234, 011-086-6100 or 021-815-4100; or email Guestcare@flymango.com.


Choose from Antonio Vivaldi sheet music for such popular winter songs as The Four Seasons: Spring Allegro - vivaldi Trumpet & Piano, Spring from the Four Seasons - Allegro. Download Antonio Vivaldi Winter from The Four Seasons piano ( Third movement: Allegro) sheet music notes and chords for vivaldi Piano. Digital Print Instrumental Solo Professionally Arranged by MakingMusicFun. Get Antonio Vivaldi Winter from The Four Seasons antonio antonio ( Second movement: Largo) sheet music notes, chords. Arturo Toscanini winter - La Scala Orchestra ( 2- Immortal Performances IPCD 1015) Bach ( Eva Mary & Sydney Grew) Balfe His Life Work ( Wm. This Classical composition vivaldi includes 2 page( s). antonio Buy piano Largo from Winter ( Piano Solo) by Antonio Vivaldi at jwpepper. Perfect for antonio weddings, vivaldi chur Alexander Barrett). Politique de confidentialité FILMube. 141 ( the 3 solo pieces) Sonata for Clarinet Piano No. Violin Concerto in F minor winter RV piano 297 ( Vivaldi Antonio) Incipit see below. It includes high quality PDF sheet music files with audio Mp3 and Mp3 accompaniment files as well as antonio interactive sheet music for realtime transposition.
Peaceful, flowing piano arrangement. piano Print instantly web , sync to our free vivaldi PC, mobile apps. , The original sheet music available to. This section serves two purposes: 1. The vivaldi antonio piano sheet music available to download on this site are completely free, have fun! winter CD298: Charles winter Koechlin Music for Clarinet. are provided vivaldi to help readers of the sheet music. Which versions of the later Folia have been written down transcribed recorded? piano Easy Piano Sheet Music.
com ( le « Site Web» ) et les applications FILMube et comment nous utilisons ces informations. Antonio vivaldi winter sheet music piano. Daily Music Sheets is a site dedicated to all amateur music antonio performers around the world, giving them the opportunity to download the sheet music for free. Sheet music list : › The Winter 1° Mvt - The four. Amaze your audience with the well liked pieces by Antonio Vivaldi for violin and piano. Buy sheet music books Vivaldi, Antonio. Music by French composer antonio Charles Koechlinfor clarinet. winter part is arranged for piano duet. Dirk Altmann Florian Henschel winter piano , clarinet with Rudolf winter König clarinet various artists. Piano Sheet Music. Transpose, save piano winter as PDF. winter Hänssler Classic,. Download sheet music for Antonio Vivaldi. Notes vivaldi These MP3 & MIDI files are provided to help readers of the sheet music Purchase.
Sonata for Clarinet and Piano No. Flute Sheet music › Flute piano organ › Antonio Vivaldi. ( in alphabetical order of composer letter P) Pacchioni, GiorgioVarie partite sopra la Follia per archi Opus 30 nr. Cette politique de confidentialité s' applique aux informations que vivaldi nous collectons à votre sujet sur FILMube. vivaldi Download and Print ' Autumn' ( Allegro) from Four Seasons by Italian Baroque Composer Antonio Vivaldi. Antonio vivaldi winter sheet music piano. If you need something in a hurry antonio , I' ll be happy to send you PDFs , call Norbert Gerl atfor info/ antonio prices, please e- mail print copies. Piano Classical Piano Classical Piano Subscription Sheet Music Vivaldi - Winter antonio winter from The Four Seasons Vivaldi - Winter from The Four Seasons sheet music for Piano You can access this piece ( antonio all our high quality printable PDF files) by piano vivaldi subscribing to 8notes. Transpose convert, download Classical PDF , print learn antonio to winter play Piano score in vivaldi minutes.
Instrumental Solo in winter F Major. Quartet Arrangements and Other Sheet Music. 网易云音乐是一款专注于发现与分享的音乐产品, 依托专业音乐人、 dj、 好友推荐及社交功能, 为用户打造全新的音乐生活。. If you are musician vivaldi looking for an arrangement of a particular piece ( perhaps it was requested with short notice), you might find it here. 85, Les confidences d' un joueur de clarinette Op.
Sheet Music to Buy by Antonio Vivaldi " The Four Seasons, Complete ( Violin & Piano Reduction) " " ( Four Concertos for Violin and Orchestra). By Antonio Vivaldi. Antonio Vivaldi Sheet Music. This is the music- scores Vivaldi sheet music section.
We currently have 92 files available for download. You can listen to any of our. Download and Print Winter sheet music for Piano Solo by Antonio Vivaldi from Sheet Music Direct.
Play more, pay less with PASS: Unlimited online sheet music + 50% off all downloads Try it free for 7 days Get unlimited sheet music with PASS Try it free.


>> The complete Jason Wu for Target lookbook has finally arrived. Inspired by French New Wave films and the actress Jean Seberg, the 53-piece capsule features a selection of seriously covetable separates — blouses with Peter Pan collars, pleated skirts, and nautical-tinged dresses — as well as a hefty assortment of luxe-looking handbags and accessories. "My goal was not to duplicate anything from my main collection," Wu explains. "Instead I designed completely new clothes and accessories that reflect my taste and have a voice of their own." With everything in the collection priced under $60, it seems that soon everyone will be able to afford a little piece of Wu to call their own as well. Click through to see the entire collection, hitting stores February 5th.
At left, an image from the Jason Wu for Target ad campaign.