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A mid-race wreck marred Daniel Hemric's (@DanielHemric) chances at victory, relegating him to a disappointing 22nd-place finish in his second-career race at Pocono (Long Pond, Pa.) Raceway.
Running as high as third early in the event, Hemric spun on lap 29 of 60 and made heavy contact with teammate Tyler Reddick, putting the Blue Gate Bank (In Organization) Ford F-150 team on damage control for the remainder of the event. Hemric remains third in the NASCAR Camping World Truck Series (NCWTS) driver point standings, 12 points behind second place.
Hemric lined up 14th for the start after qualifying was washed out by weather and the field was set per the NASCAR rule book. When the green flag waved on the Pocono Mountains 150, Hemric required only two laps to break into the top 10, running ninth when the first caution of the day waved on lap six. Reporting that his Blue Gate Bank Ford F-150 was a tick free on entry and snug on exit, crew chief Chad Kendrick advised his driver to remain on the racetrack during the first caution.
Restarting eighth, Hemric was still in the top 10 when the yellow flag was displayed again on lap 13. Opting to remain on the racetrack while others pitted, Hemric was scored in the fourth spot when green-flag racing resumed on lap 16.
He jumped up to third following the restart, but had dropped back to seventh by the time the fourth caution flag waved on lap 25. Hemric stated that his Ford F-150 lacked grip on the initial restart, and he was fighting a tight condition center and exit.
Kendrick called Hemric down pit road for four tires, fuel and both air-pressure and track-bar adjustments, and with several competitors remaining on the track under the yellow, the Kannapolis native lined up 11th for the restart on lap 28.
Unfortunately, shortly after the green flag waved, a wild restart put Hemric in a precarious spot in Turn 1, and his Blue Gate Bank machine got loose and spun. With teammate Tyler Reddick headed in his direction, the other Ford F-150 made hard contact, severely damaging both trucks.
The Brad Keselowski Racing team went to work quickly, never losing a lap as they repaired the No. 19 to the best of their ability over the course of several stops during the next three cautions. However, the damaged truck was no longer a threat for the win, and Hemric ultimately crossed the finish line in the 22nd position.


Yesterday, I went over a list of 60 things that players of the GameCube Version of Animal Crossing are missing out if they stopped. This also includes those that have played all four versions and want to know what it was like if they only played the first one.
Today's blog entry is going to be about the opposite. I bet you would be glad that all of these previous problems are gone, but we still have the new problems. If New Leaf was your first Animal Crossing game, I recommend that you do not play the older versions. They have fewer features and some of the stuff are much tougher.
This list is just like the generation facts. The elders can remember when home computers never existed or when TVs were only in black and white or when rotary dial landline phones were popular. The new ones (born 2000 or later) could not imagine a world without internet (or imagine what it was even like before Facebook). They would also think that TVs were always HD flatscreen TVs or that phones are hardly phones without texting, mobile games, or music. Other interesting facts are about how icons of older stuff no longer have any meaning in today's society. Some people can remember when floppy disks were popular and how they can store all of their data (hence the save icon being a floppy disk). Now we have people that don't understand why the camera app makes a shutter sound when you take pictures. There are still millions of people (who were born before Snow White and the Seven Dwarves first came out in theaters) living today. In addition, people who weren't even born before Shrek are already in high school. Time flies by fast. In fact, some things that won't go into style until 2020 will eventually become irrelevant. I know this makes us sound old, but this is what today's list is going to be like.
The list begins here. If you haven't played prior to ACNL (or you want to know what it's like only knowing New Leaf), you wouldn't know any of the following.
Who Olive, Woolio, Stu, Cashmere, Oxford, or Huggy were (as well as the many GameCube villagers that never appeared since their removal).
Animal Crossing once had no Wi-fi travel.
The codes at Tom Nook's Store were the original way of trading between town to town.
Resetti used to be a lot meaner (always assuming that you would reset on purpose if you haven't saved your game). There was also a time where he popped out on City Folk even if you never reset (but only for introduction and reminder).
In fact, all animals used to be a lot meaner, even normal villagers (and especially cranky villagers).
But they did teach you lessons about real life.
When animals used to be rude (like forcing you to give up your assets, rudely repainting your roof, forcing a nickname on you and spreading without your permission).
That fossils used to require mailing to the faraway museum for identification (Blathers actually makes a reference to the faraway museum in Happy Home Designer).
Or that Tom Nook used to run the furniture store.
Or that you can only meet Timmy and Tommy at the final expansion.
There was once a remodeling restriction where you were required to have a shopper from another town buy from Tom Nook's store to get Nookingtons. You would know about Gracie's fashion checks, but not this.
Speaking of Gracie, she used to be an illegal parker that Copper did not approve of (and how we had to wash her car).
Harriet used to work for Tom Nook.
Redd used to sell furniture too (and have the password restrictions).
The Able Sisters used to only be about pattern designing (and how you could only design patterns as the Able Sisters).
Gulliver was once an alien.
Katie used to be a visitor that wanted to look for her mother.
Lyle used to be some jerk that would cheat you out of your money (rather than a nice guy who scores your house).
The HHA used to be called the HRA. It even sent you letters frequently.
The existence of town models, raffle tickets, the point system, and shopping cards.
You were once required to pay off your house completely to have a bank account.
The fact that you used to make bank transactions with Pelly and Phyllis.
The existence of holidays likes the Sports Fair, Snow Day, Town Day, and Cherry Blossom Festival.
Kapp'n used to be a taxi driver or bus driver.
The island used to require a Gameboy Advance to access.
The existence of NES games in Animal Crossing.
K.K. Slider once appeared in the Café.
Obtaining the golden shovel used to be a lot easier (and obtaining the golden axe used to be a lot harder).
You could delete your first character since Tortimer was the mayor.
Pascal used to be on land.
Shrunk used to be a special visitor.
TVs used to have only one channel (and lamps used to be display-only furniture).
Slot machines used to be in Animal Crossing as furniture.
Fishing at the sea used to be limited to sea basses, red snappers, and barred knifejaws. They were even the same size.
Sea basses used to worth 120 Bells.
Grass deterioration used to be a lot worse.
Animal Crossing used to have a donation system.
Animals never gave you a notice before moving (or packing boxes).
Towns had more levels of elevation (and beaches blended with the grass.
The existence of the acre system.
Storage space used to be more cramped up (and picking up dressers and bureaus counted one to four pocket spaces).
You used to have 15 pocket spaces.
You once had to run to your gyroid assistant to save your game.
The existence of journals and shiny spots.
You had handheld fans as items too.
There was once a city to travel to.
Some of the villagers used to have a different personality.
We used to have only five fruits (as well as coconuts).
Perfect fruits once never existed.
You couldn't stack fruits on top of each other.
Art used to be only paintings.
The aquarium used to be only fish. There was no seafood.
You could only donate one item at a time.
Celeste used to own an observatory.
The Café used to be part of the Museum.
Sable used to never be friends with you.
Characters used to be a lot shorter.
Human characters used to have limited customization options. We still don't have coats, mittens, necklaces, or backpacks (even in Happy Home Designer), but it was even worse before New Leaf.
I may have missed some, but this pretty much sums up what Animal Crossing used to be like. It's amazing to live a long time ago and see all these processes over time (like the history of phones). But life would be a lot harder back then. We should be grateful of the new technology we have. The same is true for Animal Crossing.
The reason I would recommend long-gone fans to play New Leaf is to see what they missed. But the reason why I don't recommend the opposite is because the gameplay of New Lead has made previous versions (even City Folk) unplayable. I kinda feel that the next Animal Crossing game would do the same to New Leaf and even Happy Home Designer. You're better off missing what I listed.
Even I was interested to learning about what was different to times before me. As I read through history of everyday life, I saw some interesting things that show how much we have progressed over time. I even like learning about older games too.
And yeah, I love learning about older games! Some of them just have this charm that newer ones don't have, IMO.


This isn't a lesson on "how to," just an account of how it went for me.
At the end of last year, my oldest daughter Kelsi wanted to celebrate the end of her child bearing at the birth of her 3rd one, a girl, Sophia Jade, by having a belly cast made. So, at about 3 weeks out from the due date we had Melanie, her younger sister, create the partial body mold of this wonderful fecundate belly.
At this stage of the project…girls only allowed.
From this plaster mould a paper mache casting was made, in this case the mix being simply egg carton and wall paper paste. Melanie had to return to Auckland, she is a full time student there, so dear old dad was left, or should I say instructed, to finish the project off.
The 1st attempt, egg carton with wall paper glue when being plastered to bring it up to finish. The shrinkage and distortion of this cast being unacceptable.
2 or 3 weeks later the casting was pulling away from the mould as it hardened, and on easing the paper mache casting from the mould it was clear there had been significant shrinkage, plus it was very rough. So it was smoothed over with wall board finishing compound, which sadly made things even worse. Not only did the shrinkage worsen it pulled badly out of shape presumably due to differential shrinkage, really disappointing…oh well, not good enough for me, so went on line to see if there are any artists out there who specialize in paper mache, and this is when I made contact with Jonni, and learned of her paper mache clay recipe.
The mould was a little worse for wear at this stage.
Casting No.2 was much smoother, hence requiring way less finishing, and I was eager to get it painted. Some annoying cracking was present at this stage that needed repairing. For painting I chose some aerosol products, a sandable undercoat and full gloss top coat, which gave a great finish, but a short while later, further cracking appeared, right through the paint and into the clay…Grrrr…It had gone from looking hopefully finished to yet more repairs needed. I could only conclude the paint was too hard and rigid for the paper mache substrate.
The project was abandoned for a while, being that fed up with it.
When getting around to finishing off this job, I chose good old fully flexible acrylic house paint, it's designed to move with its substrate and bridge blemishes. So, at the moment, the body is the same color as my house, funny that! and the paint has held up perfectly. I brushed the paint so its not quite up to the finish intended, its not too bad, one day it will get a spray finish, but the recipient is in no hurry, and will probably choose another color.Overall, I am very satisfied with the result. The photo is of when it had its first paint job.
First and second castings, side by side.
The mould: don't skimp on this, at the Community Art Centre, I mentioned moulds that are for reuse, are a good 1″ thick, mine only just made it through the second casting. If something goes wrong first time, a mould still intact is essential.
Painting: use a flexible coating, there might well be other products than acrylic, again, this what the folk down the centre use and recommend, but artists quality…not left over house paint.
Layering, for future projects I would use this, other artists recommend it, I believe it leads to a stronger more consistent outcome.
Clay mix: stick to proven recipes where appropriate, take care to maintain proportions if batching up large quantities, I am sure I must have been rather light on the finishing compound, perhaps being a little stingy due to only buying a small quantity of the product.. I just feel my project is not quite as strong as it could have been.
Experiment – you will be surprised the difference made by minor adjustments will make. Whats fine for 1 application might not be the best for another.
Why a robust mould is needed.
As a first time user I wish I had researched a little more, there is so much information on offer. I think my mix was not dry enough. I think an amount of more robust fibre could have been used, i.e. my mix was all toilet tissue and having recently found samples, 1 that is about 30% egg carton and 70% toilet tissue seems to be as tuff as old boots, lastly possibly not careful enough with batching up.
Having beat myself up, I am still happy with the final result.
Good old petrolium jelly was used as release agent. I had a little anxiety about whether this would affect subsiquent paint finishing, I recall Jonni had also mentioned this, but there were no problems there. This is because being a petrolium product it simply evapourates away. Other local artist informed me of this, and it really does. Not a lot of sanding required, mostly just before he finishing coat as pictured. All paint till then was sprayed.
This is really nice work, it looks like porcelain. What did you use as a release agent in order to get the cast off, or does Plaster just pop off pretty easily?
Also, how much sanding did it take to end up with a finish so smooth?
I know you had problems with the paint shown in the first photo, but I sure do like that smooth finish. I wonder if the joint compound and white glue formulas are perhaps just a little bit different in your part of the world, which may have contributed to the cracking? So far, that's a problem I haven't run across, but that may be because my armatures are slightly flexible and probably shrink a bit as the paper mache clay dries around them. Do you think the kind of paint used for cars would be more flexible?
This was an interesting story, I have enjoyed reading how it all finally came together for you after all of your efforts. I don't understand what you mean by egg carton. Are you talking about the carboardish egg carton we get with our eggs? If it is, how do you break it down?
I have seen housepaint as a suggestion for painting dolls, a marionette in fact. I never thought about the reason for that until you just explained how it had some give to it. I have really enjoyed you explaining the different steps and the outcome is great!
I just finished a large batch of pulp using egg cartons and other pulp packaging that I have been saving up. I tore everything up into 2″ or so pieces and put them in my big stainless stock pot with lots of water to cover, got it up to a boil and them simmered for a few hours until things were pretty well broken down. I was surprised when the egg carton needed a little more coaxing than the other shipping carton, I had to get out my hand mixer and mix until it was finally broken down. When it cooled slightly I took the pot outside and poured the pulp into two wire mesh cooking strainers, it made a lot more than I expected so I plan to separate it into portions for a single batch of the clay and let the leftovers dry out so that next time I will have premeasured pulp ready to go. This is the first time I will be making the clay with the egg crate pulp so I will let you know how it goes.
So, when you use egg cartons and break them down that way, what would be a recipe to use to get the consisitency you want? What do you use with it? I think this is so fun, I am so curious! Thanks for sharing!
I'm using Jonni's recipe for PMC, the cardboard and fiber pulp is in the place of the toilet tissue, just follow her recipe and use the pulp instead. I used my pulp yesterday to make a batch of clay and it was very nice, no difference in my work.
WELL DONE KERRY!! What a huge amount of perseverance and determination!! But it paid off 🙂 A true artist!! It looks wonderful!


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Centretown News
4 years ago-Council approves creation of Women's Bureau for 'gender lens' on policy
4 years ago-As deadline looms, attention turns to condition of Prince of Wales Bridge
4 years ago-LRT by Remembrance Day? Don't count on it, committee told
4 years ago-City earns 'Age-Friendly' award for seniors' services, amenities
4 years ago-Capital Pride seeks infusion of young energy, ideas
Carleton history student Rebecca Sykes worked on a kiosk display about the historic Plant Bath at the corner of Somerset and Preston streets. Photo: Matthew Horwood, Centretown News
Street art to revive city's history
By Amanda Marsh
At seven street corners throughout downtown Ottawa, typical grey traffic control boxes have a new, brighter look.
As a part of project by the Centretown-based Worker's History Museum, the boxes have been wrapped with archival images and original artwork. Each of these installations tell a story involving local history.
The museum partnered with Carleton University's Centre for Public History, Chapter One Studio, artist Ross Rheaume and Ottawa 2017 to research, design and install a total of 17 wrapped control boxes around the city.
The boxes are called Capital History Kiosks.
David Dean, a Carleton history professor and the project lead, said that the idea was kickstarted with funding from Ottawa 2017, the city agency that organized the capital's celebration of Canada's 150th anniversary.
More than 130 submissions were received by the Ottawa 2017 committee after it put out a call for arts, culture and heritage projects. Capital History Kiosks was one of 14 projects chosen to receive a total of $250,000 in funding.
"The Worker's History Museum wanted to find a way of celebrating 2017 by telling stories that weren't just about national heroes, but were about everyday life in Ottawa," said Dean.
The location of the kiosks inspired the stories they tell.
The first kiosk completed stands at the entrance to Lansdowne Park. It features an image of Ottawa's lacrosse team in 1891.
In addition to images, the kiosks also have some text, and a QR code that can be scanned by smart phone to visit a website to learn more about the story.
The box at Preston and Somerset has been decorated with images of Tom Wood's red chalk drawings of the Plant Bath. The Plant Bath, with its old façade, stands behind it.
The kiosks were researched by Carleton history students who were assigned a neighborhood or intersection, and told to develop a historically accurate story that reflects the location.
Emily Keyes was one of the students who sites that were eventually used in the Capital History Kiosk project.
"I passed by many of these places daily, and often wondered about their stories," she said. "The project provided me with the opportunity to learn more about my community, and to give these stories back to these places."
Rebecca Sykes conducted did the research for the Plant Bath kiosk. She uncovered stories from the bath and the images that were used.
The Plant Bath was one of the few public pools in Ottawa before the 1960s. Sykes said she liked bringing life to a story that is connected to so many different neighborhoods.
"I think it's nice to have the visual reminder on the box that connects the old stone monument Plant Bath to the history of what it was used for," Sykes said.
For the kiosk Sykes researched, the chalk drawings were held by Library and Archives Canada and were virtually unseen prior to this project.
Archival images were used for 12 of the kiosks, while original paintings by Ross Rheaume appear on the remaining five.
"It was the visual that was really important for us. It had to be original, it had to be creative and it had to be ground breaking," said Dean.
The images were printed on graffiti-proof vinyl to wrap the control boxes. Dean said graffiti-proof means any spray paint can just be wiped off.
After the kiosk at Lansdowne Park was installed, someone drew moustaches on every person in the photo who did not already have a moustache.
Dean said the smears came off with just a tissue, and that the vinyl wraps ensure that the city won't have to send out graffiti removal crews every time a box is vandalized.
The vinyl has a life of between five and eight years. According to Dean, the kiosks will be up for the foreseeable future.
CentretownNews
@CentretownNews
Ottawa band brings new life to the blues #ottnews @ottawabluesfest https://t.co/K08r6rc3zl
Artist brings satirical art exhibit to City Hall #ottnews @ottawacity https://t.co/7gDq2tWghg
Ottawa seeks Indigenous art for city's collection #ottnews @ottawacity https://t.co/cWGxX4nkv5
Upcoming Performance Shows Potential of Dominion-Chalmers for Carleton #ottnews @Carleton_U @DC_United1 https://t.co/UcWMFZ1RYb
Rochester Heights mural curbs graffiti vandalism #ottnews @ottawacity #PaintItUp! https://t.co/kzKZMJE0tQ
The Gladstone set to stage Ottawa playwright's dark political drama April 14, 2018
Face to Face approaches Ottawa's Jewish history like 'family photo wall' April 14, 2018
Exhibit glimpses 150 years of Ottawa history through five sets of eyes April 14, 2018
Council approves creation of Women's Bureau for 'gender lens' on policy April 14, 2018
As deadline looms, attention turns to condition of Prince of Wales Bridge April 14, 2018
© 2018 Carleton University School of Journalism and Communication. All rights reserved.

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Q: lateinit property variantName has not been initialized error while building android project with gradle When an android app which uses com.android.tools.build:gradle:7.0.0-alpha06  tools is build using the command line (gradle build) with gradle 6.8.1 or 6.8.2, fails by saying
*FAILURE: Build failed with an exception.

*

*What went wrong:
lateinit property variantName has not been initialized

*Try:
Run with --stacktrace option to get the stack trace. Run with --info or --debug option to get more log output. Run with --scan to get full insights.

*Get more help at https://help.gradle.org
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Is there any workaround for this

A: It seems in your code there is a variable named "variantName" that has not been initialized yet. Please share your code if you still face any issue.

A: Update the gradle plugin in the app-level build.gradle file to "7.0.0-alpha07", and it should be solved.
classpath "com.android.tools.build:gradle:7.0.0-alpha07"

redpajama_set_name: RedPajamaStackExchange


Bangladesh Road Transport Corporation To attend the 2nd Pre-shipment Inspection of AC City Buses under the Indian Line of Credit (LOC-2).
Roads and Highways Department To attend the Expert Group Meeting and Regional Meeting on the Innovative and Integrated Intelligent Transport System (ITS) for the Development and Operation of Sustainable Transport System in Urban areas.
Roads and Highways Department To attend the workshop "Towards the Establishment of a Road Safety Observatory in Asia".
Bangladesh Road Transport Authority To attend the workshop "Towards the Establishment of a Road Safety Observatory in Asia".
Bangladesh Road Transport Corporation To attend the Pre-shipment Inspection of Trucks under the Indian Line of Credit (LOC-2).
Bangladesh Road Transport Corporation To attend the Stage Inspection & Pre-shipment Inspection of Double Decker Buses.


For many successful landlords and investors, working with a professional San Antonio property management company can help increase the return that's earned on their investments. While there is a cost associated with high quality leasing and management services, you are likely to more than make up for those fees with higher rents, better tenants, and lower expenses. The value that you receive when you work with good property managers is more than worth the costs you incur.
The fees you will pay depend on your property and your management company. There are a few fees you can always expect, however, and we're highlighting those today.
Before you even put your property on the market, a good property management company will also help you prepare it for prospective tenants. Together, you will decide on whether any upgrades or updates are needed to make your home more appealing to high quality renters. You'll discuss how to effectively price the home. Your property manager will study the San Antonio rental market and analyze the competition to settle on a rent that will be both competitive and lucrative for you.
Leasing fees will be charged as one flat amount or as a percentage of the first month's rent. Some management companies will offer a lease-only service, where you pay for the leasing services and then manage the home on your own. In this case, your leasing fee might be a little bit higher than it would be if you were paying for both leasing and management services.
With professional San Antonio leasing services, you can expect to have your property rented faster, which means you will earn more rental income. You'll also have a better rental price, and an access to better tenants who pay on time, care for the home, and stay longer. All of this contributes to a higher ROI and a better rental experience. Your leasing fees will be a wise investment, and will help you earn more over time.
The leasing fee is paid only one time. Usually, you'll pay it at the beginning of your relationship with your property manager. You may be required to pay it when you sign the management agreement, or you may have it deducted from the first month's rental payment. Talk to your property manager about any guarantees that come with this leasing fee. For example, if your property manager places a tenant who needs to be evicted within two months of the tenancy, you shouldn't have to pay another leasing fee to get a new tenant in place. Make sure you understand everything that's covered in the leasing fee, and what might be extra. Some companies will charge more for advertising and others will charge for tenant screening. It's important that you know what you're getting in exchange for the leasing fee.
After the leasing fee, you can expect to pay a monthly management fee. Similar to the leasing fee, this will either be a flat rate or a percentage of the collected rent. Flat fees might be $100 a month. Percentage-based management fees in San Antonio might be between 8 and 12 percent of the rent.
One way is not necessarily better than the other. The companies that charge a flat fee believe they are saving you money because you pay the same amount whether your property rents for $800 a month or $2,000 a month. They also tell you it's a consistent fee, and you'll always pay the same thing.
Companies charging a percentage of your rent believe that they are providing a better service. While you do pay more if your rental amount is higher, this also might incentivize your property manager to get you the highest possible rent. When you earn more – they earn more, too.
Most property management companies will deduct the management fee directly from the rent before it's deposited in your account. If you decide to work with a management company that requires you to pay the management fee outside of the collected rent, make sure you find out whether you'll be expected to pay a fee while the property is vacant. Ask if you'll be charged the management fee if your tenant doesn't pay rent one month.
The management fee will cover all of the services you need and expect from your property manager on a regular basis. This includes rent collection, maintenance, tenant relations, lease enforcement, and regular accounting.
You can deduct management fees from your taxable rental income. Talk to your CPA or your tax attorney, but in many cases you can write off the amount you pay your property manager. This will reduce your tax liability and cost you less when you consider the big picture.
Look for a transparent management agreement. Make sure it states exactly how much you'll be paying, how you'll be paying, and when you're subject to cost increases. It's important to know what's included, and it's even more important to know what's excluded.
Ask for discounts when appropriate. If you're bringing a property manager dozens of Fort Worth rental properties to manage, you shouldn't have to pay full price on every single one. You can negotiate lower rates when you provide a larger volume of business.
You should expect a complete accounting of your income and expenses every month. A good property management company will provide a monthly statement, where the deduction of your management fee is reflected. Your statement should show the income and the expenses associated with your investment properties on a monthly and annual basis. Advanced management companies will have an online portal where you can access this information whenever you need it.
The leasing fee and the management fee are charged by nearly every property manager in San Antonio and the surrounding areas. You can expect to pay them, whether you have one property under management or an entire portfolio. In some cases, these are your only costs associated with the professional management of your rental properties. However, there are other fees that a property manager might charge. These would not be included in the regular management fee.
Administrative fees might also be called set-up fees, and they will be charged when your account is established in the property manager's system. The cost will depend on how many properties you have, and not all companies will charge it.
Vacant rental properties don't earn income, so see if you'll still be expected to pay a management fee or a vacancy fee. Make sure you know what your property manager is doing for this fee. A vacancy fee will make sense if work is being done on the home or some other service is being provided while your home is vacant.
Some property management companies charge a mark-up when maintenance is needed. So, if you have a $200 invoice from a plumber for work that was completed on your rental home, your management company may charge a 10 percent service fee, bringing your total maintenance bill to $220. Ask any potential management company if they charge a mark-up on their maintenance and repairs. While this is not necessarily unrealistic, you do want to be aware of it.
As the end of your tenancy approaches, your property manager should talk to you about whether you want to renew the lease. Your manager should also talk to the tenant. The negotiation of a lease renewal may result in a renewal fee.
A tenant pays late fees when rent isn't paid on time. You don't have to pay late fees yourself, but these do impact your rental income. It's important to ask who keeps those late fees. Will they be paid to you or kept by your property manager? Some companies will share the fee with the owner. Ask how late fees are handled and when they're charged to tenants.
Tenants may have to pay other fees, such as pet fees, lease violation fees, or service fees for the payment of things like utility or cable bills. Talk to your management company about whether you are entitled to income from any of those fees, or if the property manager keeps all the proceeds.
Property management fees in San Antonio will depend on a number of factors, including the type of property you own, the size of your portfolio, and the services you need. As you're interviewing different property managers, make sure you understand what you're being charged. More importantly, make sure you understand the value of the services you're receiving in exchange for those property management fees.
If you have any questions about what we charge or how we work, please contact us at Specialized Property Management Services in San Antonio.
https://spmsa.wpengine.com/wp-content/uploads/2017/11/SPM_REV-orange_Logo.png 0 0 Specialized Property Management https://spmsa.wpengine.com/wp-content/uploads/2017/11/SPM_REV-orange_Logo.png Specialized Property Management2018-12-21 01:00:242018-11-19 14:36:37What Types of Fees Can I Expect with a San Antonio Property Management Company?


text:
Lanzelot is a 1969 opera by Paul Dessau to a libretto by Heiner Müller and Ginka Tsholakova. It premiered 19 December 1969. It was revived in 2019 in Weimar.

References

Operas by Paul Dessau
German-language operas
Operas
1969 operas

redpajama_set_name: RedPajamaWikipedia


text:
Turtle Geometry
From Artificial Intelligence Series
The Computer as a Medium for Exploring Mathematics
By Harold Abelson and Andrea diSessa
Hardcover $75.00 S
Paperback $45.00 X £38.00
A college-level math text for serious mathematicians and fans of recreational mathematics. This book proves that turtle graphics is not just kid stuff.
Popular Computing
Turtle Geometry presents an innovative program of mathematical discovery that demonstrates how the effective use of personal computers can profoundly change the nature of a student's contact with mathematics. Using this book and a few simple computer programs, students can explore the properties of space by following an imaginary turtle across the screen. The concept of turtle geometry grew out of the Logo Group at MIT. Directed by Seymour Papert, author of Mindstorms, this group has done extensive work with preschool children, high school students and university undergraduates.
Out of Print ISBN: 9780262010634 498 pp. | 6 in x 9 in June 1981
$45.00 X | £38.00 ISBN: 9780262510370 498 pp. | 6 in x 9 in July 1986
Harold Abelson
Hal Abelson is Class of 1922 Professor of Computer Science and Engineering at Massachusetts Institute of Technology and a fellow of the IEEE. He is a founding director of Creative Commons, Public Knowledge, and the Free Software Foundation. Additionally, he serves as co-chair for the MIT Council on Educational Technology.
Andrea diSessa
Andrea diSessa is Chancellor's Professor in the Graduate School of Education at the University of California, Berkeley, and a member of the National Academy of Education. He is the coauthor of Turtle Geometry: The Computer as a Medium for Exploring Mathematics (MIT Press, 1981).
Reading this book with the help of a good graphics computer system, you are sure to discover new and interesting math... an excellent textbook or self-study guide.
W. Lloyd Milligan
A Robot Ping-Pong Player
Russell L. Andersson
Nonmonotonic Reasoning
Grigoris Antoniou
https://mitpress.mit.edu/books/turtle-geometry


text:
Rupi Kaur (rojena 4. oktobra 1992) je kanadska pesnica, ilustratorka, fotografinja in avtorica. Rojena je bila v Pandžabu v Indiji, v mladosti pa je z družino emigrirala v Kanado. Poezijo je začela ustvarjati leta 2009 in zaslovela na Instagramu ter sčasoma postala priljubljena pesnica s svojimi tremi zbirkami poezije.

Marca 2015 je kot del svojega univerzitetnega fotografskega projekta na Instagramu objavila serijo fotografij, na katerih je prikazana z madeži menstrualne krvi na oblačilih in posteljnini. Instagram je odstranil sliko, Kaur pa je izrazila kritiko nad dejanjem podjetja. Zaradi incidenta je njena poezija pridobila več pozornosti in njena prvotno samozaložniška zbirka Milk and Honey (2014) je bila ponatisnjena ter dosegla velik uspeh.

Uspeh zbirke Milk and Honey se je za Kaur izkazal za zaskrbljujočega, saj se je spoprijemala z veliko težavami med ustvarjanjem nadaljevanja, The Sun and Her Flowers (2017). Po izdaji je zbolela za izgorelostjo, a si je kmalu opomogla. Želela je manj pritiska za komercialni uspeh, zaradi česar je izdala tretjo zbirko Home Body (2020) – delni odgovor na pandemijo covida-19. Kaurino delo, ki velja za del skupine instapoezije (Instapoetry), je po naravi poenostavljeno in raziskuje južnoazijsko identiteto, priseljevanje in ženskost; njeno otroštvo in osebno življenje služita kot vir navdiha. Črtne risbe spremljajo njeno poezijo z ostrimi temami.

Njene številke na družbenih omrežjih so podobne številkam pop glasbenih, televizijskih in filmskih zvezd. Njena zbirka Milk and Honey je bila od izida leta 2014 prodana v več kot 2,5 milijona izvodov v 25 jezikih ter bila 77 tednov na seznamu najbolje prodajanih knjig New York Timesa. Kaur hvalijo, da je vplivala na sodobno literarno sceno, čeprav je bila njena poezija mešano kritično sprejeta in je bila predmet pogostih parodij; med drugim so jo obtožili plagiatorstva s strani "Instapoetov". Kaur sta BBC in Elle uvrstila na sezname čestitk ob koncu leta; The New Republic jo je kontroverzno imenoval "pisateljica desetletja".

Zgodnje življenje
Rupi Kaur se je rodila 4. oktobra 1992 v družini Sikhov v Pandžabu v Indiji.    Pri treh letih je s starši emigrirala v Kanado.  Njen oče ni bil prisoten ob Kaurjinem rojstvu, saj je prej odšel.   Zaradi finančne nestabilnosti bi poslal nazaj zaloge, primerne za Kaur in njeno vzgojo.  S starši in tremi mlajšimi sorojenci je živela v enosobnem kletnem stanovanju, kjer so spali v isti postelji.  Njena družina se je sčasoma naselila v Bramptonu,Ontario, poleg velike skupnosti južnoazijske diaspore, medtem ko je Kaurjev oče delal kot voznik tovornjaka.

Medtem ko je njen oče živel na Japonskem, je pisal pandžabsko poezijo Kaurjevi materi, ki se je ukvarjala s slikanjem.  Rupi Kaur je pri petih letih začela prevzemati materin hobi slikanja.  Vendar so ji to vsilili, saj so ji dali čopič in jo prisilili risati.  Njena mama ji je želela privzgojiti to umetnost, saj je bilo to tako domačno.  Kaur se je spomnila tudi, da je bila poezija ponavljajoči se vidik njene vere, duhovnosti in vsakdanjega življenja: "Bili so večeri, ko je moj oče cele ure sedel in ure in ure analiziral en sam verz".  Kot otrok je bila Kaur v zadregi zaradi materinega naglasa in se je poskušala distancirati.  Kaur se je na splošno zavedala svoje identitete.  Njena mati je bila občasno oddaljena od Kaur, zaradi njene družine in kulture, še posebej, ko je Kaur imela menstruacijo; menstruacija je skupaj z zlorabo v otroštvu Kaur pogosto oslabela.  Njen odnos s starši, še posebej z mamo, se v adolescenci razburka; prišlo je do obsežnih prepirov glede posvetnih dejavnosti, ki jih je Kaur kasneje interpretirala kot rezultat želje po ohranitvi njihove izvirne kulture.   Kot majhen otrok je bila priča sorodnikom in prijateljem, ki so doživljali nasilje v družini ali spolno zlorabo; Ugotovila je, da je gledanje svojih staršev podvrženih rasizmu povzročilo njeno sramežljivost.   Okolje, v katerem je odraščala, je privedlo do tega, da je razvila ti, čemur bi lahko rekla "stalen način preživetja".

Več let je izvajala kirtan in indijsko klasično glasbo .   Kaur je želel biti astronavtka ali socialna delavka ali modna oblikovalka; njene ambicije so se pogosto spreminjale in njen oče ji je prepovedal študij slednjega predmeta na univerzi.   Zanimanje za branje je kazala že od malih nog, saj je ugotovila, da ji lajša osamljenosti.  Njeno zanimanje je ovirala Kaurjina angleščina kot drugi jezik, ki se je je prvič naučila pri 10 letih, čeprav je menila, da je njena afiniteta do knjig podobna prijateljstvu.   Samozavest in socialne veščine je začela pridobivati šele v četrtem razredu.

Začetni odpor do angleščine je pomenil, da je bila Kaur nekaj časa nema .  Skozi srednjo šolo se je udeleževala "tekmovanj v govoru", na enem je zmagala v sedmem razredu, kar ji je pomagalo najti napredek in upanje kljub izolaciji in ustrahovanju.   Kot pravi Kaur, je bila zaradi svojega zunanjega videza in ranljivosti lahka tarča posmeha.  Kaur je bila deležna različnih komentarjev o svojem videzu s strani staršev in vrstnikov.  Po šestem razredu ji je začela rasti samozavest in pisanje in nastopanje sta jo pripeljala do tega, da je "[našla] svoj glas".   Med srednjo šolo je doživela najnižjo raven svojega izobraževanja, saj je bila deležna, po njenem mnenju, strupene oskrbe. Njeni občutki so se olajšali, ko se je odrekla ljudem, ki jih je opisala kot "zelo nevarni zame".  Poezija ji je prinesla tolažbo, ko se je ukvarjala s samozavestjo – od literature je med drugim brala Amrito Pritam, Mayo Angelou, Roalda Dahla, dr. Seussa in JK Rowling .

Študirala je retoriko in strokovno pisanje na Univerzi Waterloo ; sama bi poučevala ure kreativnega pisanja za srednješolce in študente.   Ko se je učila poezije, se je »mučila nad vsako besedo«: »Morala bi izvleči seznam literarnih pripomočkov, ki mi jih je dal učitelj, in mojih 10 pisanih pisal. Bilo je, kot bi delal operacijo na prekleti stvari."

Kariera

Zgodnje delo (2009–2013)
Kaur je prvič začela izvajati poezijo leta 2009.  Čeprav se ji je zdela govorjena poezija "res naravna", svoj prvi nastop je opisala kot "Kot preklet objem", igrala se je s papirjem nad obrazom in zaradi počutja tesnobe odšla, preden je občinstvo zaploskalo.   Njena poezija je bila sprva mlačno sprejeta, saj so ji rekli, da je za nekatera prizorišča preveč agresivna ali da nekaterim povzroča nelagodje.   "Toliko ljudi okoli mene si je mislilo, da je to popolnoma smešno."  Kaur je začela pisati, da bi artikulirala svojo osebno travmo, ko je pravkar zapustila nasilno razmerje – kar je vplivalo na njeno odločitev za izvajanje poezije: "Želela sem najti glas, ker sem bila tako dolgo brez glasu".    Na univerzi je njeno pisanje postalo bolj refleksivno kot prej, saj je prej pisala o fantih, ki so ji bili všeč, in političnih spremembah, ki jih je želela videti v svetu – čeprav je bila po lastnem priznanju nevedna o zadevi, so njene poezije sprva grajale Kanadsko vlado.   Kaur je bila pogosto v sporu s svojimi starši glede njene odločitve, da se bo ukvarjala s poezijo.

V srednji šoli je Kaur anonimno delila svoje pisanje.  Prevzela je umetniški priimek Kaur, ker je "Kaur ime vsake sikhovke – pripeljane, da bi izkoreninile kastni sistem v Indiji – in pomislila sem, ali ne bi bilo opolnomočujoče, če bi mlada Kaur videla njeno ime v knjigarni? ".   Od leta 2013 naprej je svoje delo brez psevdonima začela deliti na Tumblr, preden se je leta 2014 začela objavljati na Instagram, kjer je začela dodajati preproste ilustracije.  Približno v tem času je začela pridobivati kultne privržence in je imela včasih 600 obiskovalcev na svojih nastopih, njena kariera pa je bila do zdaj podvržena "[skoraj] besedi ust ".    Njena prva pesem, objavljena na Instagramu, je obravnavala ženo, ki se spopada z moževim alkoholizmom; izkušnjo je opisala kot katarzično.

Med in mleko (2014–2016)
Sprva je svojo poezijo objavljala v literarnih antologijah, revijah in revijah, vendar je s tem dosegla le malo uspeha.  Kaurjina prva knjiga Milk and Honey je izšla v samozaložbi na Createspace 4. novembra 2014, potem ko je začela delati pri 18 letih.    Poezije v Milk and Honey je ustvarila "povsem zase, brez koncepta knjige v mislih" in prodala več kot 10.000 izvodov.   Kaur se je spomnila, da se je obotavljala pri objavi poezij v revijah ali časopisih, saj "zdelo se mi je, kot da razstavljam [ Mleko in med ] in mečem stvari v različne stene, v upanju, da se bodo držale. Zdi se mi, da je imelo smisel šele, ko je bilo [zbrano], ker je to produkt dela."

Marca 2015 je Kaur kot del svojega univerzitetnega fotografskega projekta – z namenom, da izpodbije prevladujoče družbene menstrualne tabuje in objektivizacijo žensk – na Instagramu objavila serijo fotografij, na katerih prikazuje sebe z madeži menstrualne krvi na oblačilih in posteljnini.    Internetni troli so nadlegovali Kaur zaradi fotografij, ki so bile dvakrat odstranjene, ker niso bile v skladu s pogoji storitve spletnega mesta; Kaurjeva je trdila, da ni bila predhodno obveščena ali da ji je bil naveden razlog, in kritizirala njihovo cenzuro kot mizoginijo ter ponovno potrdila, kar je hotela obsoditi – dejanje je označila za "napad na mojo človečnost".   Instagram se je opravičil in vrnil slike, pri čemer je navedel napačno odstranitev.

Njen odziv je postal viralen, v zaslugo za to, je Kaur pridobila več privržencev in povzročila kasnejši porast priljubljenosti njene poezije.  Pozneje je obžalovala, da je napisala svoj odgovor, saj je ugotovila, da je razširjen prezir vplival na njeno duševno zdravje, doživljala je tesnobo, ki se je "nekako pojavila in nikoli zares izginila", in nekaj časa tudi samomorilne misli.   Istega leta je napisala 10 poglavij še neobjavljenega romana.

Ko je Kaur postala pomembna na družbenih omrežjih, je Milk and Honey ponovno izdala založba Andrews McMeel Publishing.  Postala je uspešnica in do leta 2017 je bilo prodanih 2,5 milijona izvodov po celem svetu in prevedena v 25 jezikov – istega leta je bila najbolje prodajana knjiga v Kanadi.   Med branjem poezije leta 2015 je Kaur, ko je videla vrsto svojih oboževalcev, v celoti spoznala obseg svojega občinstva in posledično postala bolj samozavestna v svojo poezijo.  Naslednje leto je imela TED Talk .  Kirsty Melville, založnik in predsednik AMP, uspeh knjige pripisuje povezavi Kaurjeve z njenimi bralci.

Pri 22 letih je zaposlila sedem ljudi, ki so ji pomagali v podjetju, ki ga je ustanovila.  Med pisanjem njena ekipa pogosto upravlja njena družbena omrežja.  Kasneje je uspeh Milk and Honey opisala kot nadrealističnega, pri čemer je opazila globoko sentimentalno in navdihujočo navezanost.

Sonce in njeno cvetje (2017–2019)

Po trimesečnem pisateljičinem potovanju po Kaliforniji in v istem letu, kot je bila sprejeta na Brampton Arts Walk of Fame, je 3. oktobra 2017 izšla Kaurina druga knjiga, The Sun and Her Flowers .    Nanjo gleda kot na "eno dolgo neprekinjeno pesem, ki traja 250 strani", "ki je, čeprav se je rodila na Instagramu, koncept, ki je odvisen od vezanosti".  Od leta 2020 je bila knjiga prodana v več kot milijon izvodih in je bila prevedena v več jezikov.  Leta 2018 je s prodajo poezije zaslužila skoraj 1,4 milijona dolarjev.  Istega leta je nastopila na literarnem festivalu v Jaipurju : "Bilo je, kot da sem celo življenje čakala na ta trenutek. To je bila moja edina predstava, kjer nisem imel treme. Množica je bila energična."

Med turnejo po svetu je doživljala občutke depresije in tesnobe .  Proces ustvarjanja The Sun and Her Flowers in poskus posnemanja njenega uspeha je vplival na njeno duševno zdravje, saj je poročala o "besnih 12-urnih [pisanjih] raztegih" in 72-urnih migrenah.   Doživljala je mesece pisateljske blokade in razočaranja nad svojim delom, na koncu pa je njeno ustvarjanje označila za "največji izziv v mojem življenju".   Po izidu se je spopadla z občutki izgorelosti – kot odgovor je napisala pesem Timeless .  Ti občutki so se začeli umirjati, saj je nanje gledala kot na minljive – k temu ji je pomagala Velika čarovnija Elizabeth Gilbert, za katero je rekla, da mi je "rešila življenje".  V začetku leta 2019 je začela terapijo za lajšanje depresije in tesnobe.

Tistega leta ji je založba Penguin Classics naročila, naj napiše uvod za novo izdajo knjige Kahlila Gibrana The Propeth, v pričakovanju, da bo ta knjiga prišla v javno domeno v Združenih državah in nastopila na Londonskem knjižnem sejmu .   Kaur meni, da ima Gibran vpliv in je Preroka poimenoval njena "življenjska biblija".

Moje telo moj dom (2020–danes)
Kaur je svojo novo pesniško zbirko z naslovom Home Body izdala 17. novembra 2020.  Zbirka je vsebovala Kaurjine ilustracije in je postala ena najbolje prodajanih knjig leta 2020.   Z namenom, da bi zmanjšal pritisk za komercialni dobiček, se je Kaur za nasvet obrnila na kolege avtorje – saj je med ustvarjanjem zaradi uspeha Milk and Honey čutila sindrom prevaranta .   Delati je začela leta 2018, v času depresije, in postopek zaključila med obdobjem introspekcije, ki je stranski produkt pandemije COVID-19, kot je Home Body v Kaurjinih očeh.

Med pandemijo COVID-19 se je Kaur zaradi občutkov osamljenosti in strahu ter želje po povezovanju s svojim občinstvom preselila nazaj v hišo svojih staršev v Bramptonu in začela poučevati delavnice na Instagram Live .  Svojim študentom predaja poudarek k naravnem in terapevtskem pristopu do pisanja.

Aprila 2021 je samostojno izdala posebni pesniški album Rupi Kaur Live, sestavljen iz branja poezije in anekdot, ki jih spremljajo vizualni elementi in glasba, potem ko so ga zavrnili je Kaur priznala, da je bila to netipična možnost.    Do avgusta istega leta je bil izdan na Amazon Prime v omejeni količini.  Ko je razložila spodbudo, se je Kaur spomnila svoje ločitve nastopanja in proze, s čimer je poskušala skriti prvo, in kako je njena morebitna združitev obeh stilov "mogoče leta 2016" omogočila izvedbo predstave.  Leta 2021 je nastopila v sklopu poklona Jacku Laytonu .

Umetnost in vplivi
Ker pisava Gurmukhi nima koncepta ločenih malih in velikih črk, je njeno delo napisano izključno z malimi črkami,  pri čemer uporablja samo piko kot obliko ločila; Kaur tako piše v čast pandžabskemu jeziku .  Povedala je, da uživa v enakopravnosti črk in da slog odraža njen pogled na svet.  Izkušnje z učenjem angleščine po selitvi v Kanado in študiju poezije so vplivale na njen stil pisanja in nato prilagodile njeno delo tako, da je dostopno, zlasti bralcem, ki se učijo angleško.   Kaur je poudarila odnos svoje poezije do južnoazijske kulture – do te mere, da je utrujena, da bi jo zahodni bralci popolnoma razumeli.

Njene pesmi se pogosto zaključijo s končno poševno črto, ki identificira občinstvo ali artikulira njeno temo ali njeno ime.  Tajja Isen je v svojem članku za The Globe and Mail to opisala kot Kaurjino "potezo blagovne znamke" in jo primerjala z uporabo hashtaga .  Kaurjin slog sega od aforističnega, navdihujočega do izpovednega, čeprav njene pesmi niso "100-odstotno avtobiografske" – izmišljeni elementi so pogosto nepregledni glede njihove pristnosti.    Kaurjino otroštvo: njen nestanoviten temperament, njena sikhovska identiteta in očetov aktivizem – kar je vključevalo Kaurjino udeležbo na protestih kot otrok – so vplivali na njene pesmi.

Proces pisanja se začne tako, da začne na papirju in nato "najobetavnejše" gradivo prenese v razširjen dokument Microsoft Word.  Pogosto po tem, ko ta proces doseže vrhunec, svojim poezijam priloži prepričljivo podobo, ki dopolnjuje verze.  Nazadnje se zaključi, ko je pesem zožena na glavne elemente in je prejela potrditev od svoje sestre.  Njene natisnjene pesmi so pogosto izseki iz daljšega govorjenega dela, v katerem objavijo "del, ob katerem se mi je res obračalo v želodcu".  Ker pisanje obravnava kot »obliko zdravljenja«, se ne ozira na občinstvo, ceni le svoj odziv in angažiranost.  V vseh svojih projektih ohranja "popoln ustvarjalni nadzor" in prispeva k vidikom, kot so naslovnice in podrobnosti svojih knjig.  Kaur je povedala, da se svoje poezije loteva kot vodenje podjetja in piše, "da bi to izvedla", pri čemer vidi oder kot mesto, kjer so njene ambicije v celoti dosežene.   V kontekstu nastopa, njena uporaba prelomov vrstic in pik predstavlja, kje se bo ustavila in kje bo predstavila novo idejo.

Njena pisana poezija se osredotoča na oblikovanje, medtem ko se njeni nastopi osredotočajo na rime, pripoved in podajanje.  Nastopa na način petja, včasih skupaj s člani občinstva, Kaur pa uporablja izvirne glasbene partiture in okrašene projekcije.   Carol Muske-Dukes je poudarila, da Kaur kot "performativni pesnik" nadaljuje tradicijo "strani, ki udejanja [predstavo] v mislih".  Elisa New je izpostavila Kaurjino bližino in podobnosti z govorjenimi in hip-hop umetniki.

Redke črtne risbe spremljajo njene pesmi.   Primerjali so jih z zunanjo umetnostjo ; njene risbe in poezija so videle aluzije na otroško umetnost.    Nacionalna pesniška knjižnica ugotavlja, da umetnost v Medu in mleku deluje kot grafični roman .  Slog risanja se nadaljuje v Soncu in njenem cvetju.  Njene ilustracije ob pesmih so »presunljive« in »pogosto moteče«, ena na primer povezuje samopoškodovanje z obupom.   Slike, ki se pojavljajo v njenih delih, vključujejo zvijajoča se telesa, plazeče rože in prste, ki tvorijo oblike src. Kaurjeva je pojasnila, da je njen slog namenjen prepoznavnosti in vzbujanju blagovne znamke, podobne Applovi .  Ustvari jih po tem, ko je napisana njihova poezija.  Kaurjino javno podobo že od samega začetka označujejo za pristno in individualno; duhovno in drzno feministično.

Poleg njenih vrstnic – Nayyirah Waheed, Lang Leav, Warsan Shire – in drugih » Instapoetov «, je Kaurjina poezija v preprostih in svobodnih verzih podana na način »ugrizne velikosti« – nekatere poezije so sestavljene le iz ene vrstice.   S Soncem in njenim cvetjem so njene pesmi razširile svojo dolžino.  »Za svojo epigramsko jedrnatostjo, preprostim jezikom in sporočili, ki krepijo moč«, velja, da je Kaurjina poezija simbolična za običajni slog »Instapoet«.  Kaur, ki ne mara izraza "Instapoet", naj bi pripadala tudi "novi generaciji migrantskih pisateljev, generaciji, ki 'sedi, tvita, objavlja in oddaja'".   Govorili so, da je morda "predstavnica vrednot in etosa cele generacije".  Od svojih vrstnikov se razlikuje po osredotočenosti na samooskrbo in prikazu bolečine, ki je prepletena z zmagoslavjem.  Kaur je rekla, da piše za "generacijo, ki bere moja dela. . . Pišem nekaj, kar je tej generaciji verodostojno."

Tina Daheley in Gregory Cowles iz New York Timesa sta v Kaurjini poeziji prepoznala odkrito in lirično naravo, pri čemer je Cowles rekel, da je njena "neumetniška ranljivost kot križanec med Charlesom Bukowskim in Cat Power ".   Zaradi njene uporabe suhega, odprtega in pogovornega jezika naj bi se Kaur odpovedala in zavrnila tradicionalne standarde in značilnosti poezije, ki so zelo pomembne.    Matthew Zapruder, Becky Robertson iz Quill & Quire in Kaur so v njenem delu prepoznali univerzalno kakovost.    Literaturistka Alyson Miller je zapisala, da Kaur uporablja "spolne, a navidezno univerzalne teme, povezane s seksizmom, travmo, prijateljstvom in nasiljem".

Po Medu in mleku je postala bolj selektivna glede objavljanja svoje poezije na spletu, saj je svoje delo obsežno predstavila na spletu.  »Z leti sem se oddaljil od tega. . . Ko so številke začele rasti, sem začela preveč razmišljati. Ves čas sem čutila večji pritisk, da sem pravilna in popolna."  Osredotočajoč se na "oblikovanje, trženje, kreativno pisanje in blagovno znamko", Kaurjin račun na Instagramu s 3,5 milijona sledilci niha med fotografijami Kaur in njene poezije, z južnoazijskimi ljudmi in ikonografijo kot vidnim poudarkom.   Njena poezija je imela kot osnovo The Sun and Her Flowers "eterično estetiko, ki jo je vodila narava", z velikimi rumenimi cvetnimi listi okoli odra in projiciranimi v ozadju.   Po izdaji Beyoncé (2013) je svojo estetiko izpopolnila v bolj stiliziran način.  Kaur je Beyoncé opisala kot vpliv, pa tudi Sharon Olds, Marina Abromovich, Adele, Kahlil Gibran, Nizzar Qabbani, Amrita Sher-Gil in Frida Kahlo.  Poleg tega Kaur črpa navdih pri sebi, svojih prijateljih in mami.

Teme in motivi

Kaurjina poezija raziskuje majhen izbor tem poleg vprašanj, s katerimi se srečujejo indijske ženske in priseljenke, ženske travme in "južnoazijske izkušnje".    Njena mati je tema, ki jo v svojem delu obravnava s spoštovanjem, in se pokloni svojim staršem v svoji pesmi Broken English – Kaur svoji materi zaradi pomembnih žrtev v svojem otroštvu pripisuje svojo kariero pesnice.   Eleanor Ty je zapisala, da Kaur s svojo poezijo "razkriva prefinjeno razumevanje psihološke kompleksnosti družinske dinamike".  Njene napisane in uprizorjene poezije delijo iste teme, čeprav jih obravnavamo drugače.

Nasilje v družini in spolno nasilje sta bila v središču njenega začetnega dela, travma, povezana s posilstvom, pa je po Medu in mleku postala bolj eksplicitna.   V svojih zgodnjih delih je močno raziskovala nasilje in travmo, ker "sem imela to željo razpakirati toliko globljih čustev in težav, za katere sem videla, da vplivajo name in toliko žensk okoli mene".  Njena pesem I'm Taking My Body Back govori o njenem preživetju spolnega napada.  Kaur je priznala, da je pisanje o teh težkih temah lahko katarzično in moteče za njeno duševno počutje.  V svojih najbolj slovesnih upodobitvah nasilja v družini piše v drugi osebi, "kot da bi se skušala distancirati od svoje izkušnje fizičnega nasilja".

V njenem delu se pojavljajo običajne kulturne metafore in motivi, kot so med, sadje in voda.  Veliko njenih pesmi se nanaša na »ženske kot kolektiv«.  Najti je mogoče občutek mističnega transcendentalizma, pogosto prepletenega z diskurzom o »naravni« lepoti.  Milk and Honey ima teme zlorabe, ljubezni, izgube in zdravljenja.  Ljubezen služi kot njena glavna tema.  Feminizem, begunci, priseljevanje in njena južnoazijska identiteta so postali bolj vidni v Soncu in njenem cvetju, skupaj z razmišljanjem o telesni dismorfiji, zlorabi, posilstvu in samoljubju.    Kaur je o knjigah dejala, da gre za potovanja "navznoter" oziroma "navzven"; Sonce in njeno cvetje imajo več tem.   Pod vplivom pandemije COVID-19 Home Body bolj kot prej preučuje teme kapitalizma, produktivnosti in duševnega zdravja.

Odziv in vpliv

Najbolj priljubljena med "Instapoetkami" in imenovana " Oprah svoje generacije," Chiara Giovanni iz Buzzfeed News je opozorila, da je Kaurina slavna osebnost – zaradi katere jo je njen vrstnik Kazim Ali imenoval morda najbolj znano pesnica vseh časov – " bolj podobna pop zvezdnici, kot je [Ariana] Grande, kot tradicionalnemu pesniku", pripisujejo zasluge njeni dostopnosti.    Agatha French, ki je pisala za Los Angeles Times, je odzive Kaurinih večinskih mladih in ženskih oboževalcev na objavo filma The Sun and Her Flowers primerjala z " gorečo predanostjo oboževalcev Beatlesov " – ji pripisujejo "voditeljstvo spajanje poezije in pop kulture«.    Njeni nastopi v živo imajo rutinsko na stotine obiskovalcev, včasih pa tudi do 800 ljudi.

Po besedah Kaur je njen uspeh "demokratiziral poezijo in literaturo nasploh" – Kaur Instagramu pripisuje tudi zasluge za zaznano demokratizacijo poezije, saj meni, da njen delavski razred in rasno poreklo ne bi dovolil, da bi bila drugače objavljen.   Erica Wagner, ki velja za "pionirja" sloga "Instapoet", je opazila Kaurin vpliv na to, kar je poimenovala "največji splošni premik, ki smo ga videli v zadnjem desetletju".   Kaur je spodbudila, da se prodajalci knjig, odrasli in mladi Američani bolj osredotočajo na poezijo.    Leta 2017 je porast prodaje poezije v Kanadi in Združenem kraljestvu spodbudil pripisovanje Kaur.

Oboževalci so jo hvalili, ker je pisala o svoji osebni travmi in dvignila raznolikost na "pretežno" beli literarni sceni.   Njeni poeziji pripisujejo "navdih središča ustvarjalnosti za mlada temnopolta dekleta"; avtorica Tanya Byrne je trdila, da bi morali kolegi pisatelji BAME ponoviti Kaurjino samozaložbo.   Njen stil menstrualnega aktivizma je postal "bolj norma kot izjema", pri čemer je veliko temnopoltih žensk od Kaur naprej vzbujalo podobno medijsko pozornost.  Navdihnila je različne mlade pesnike, da so začeli s prakso.  "Kaur je postala ... glas marginaliziranih," je zapisal Sadaf Ahsan za National Post ; literarna znanstvenica Lili Pâquet je videla, da je tak označevalec posledica njenih fotografij menstruacije.   Strokovnjaki so jo označili za " dekolonialno feministično pesnico".

Odziv na spletu
Njena serija fotografij menstruacije je vzbudila zelo mešan sprejem.  Prejela je grožnje s smrtjo, kar je privedlo do čustvene otopelosti in kasnejšega oddaljevanja od družbenih medijev.  V retrospektivi Amika George, britanska aktivistka, ki se zavzema za boj proti menstrualni revščini v Združenem kraljestvu, pripisuje Kaurjinim fotografijam menstruacije "katalizator za začetek pogovora o menstruaciji".  Allison Jackson iz The World, Jane Helpern iz iD in literarna znanstvenica Anna Camilleri so leta 2015 zagovarjale podobne ideje.    Različne feministične umetnice so branile Kaur, ko so odstranili njene fotografije z menstruacijo.  Kaur je opazila učinek na svoje prijateljice v Punjabu, saj so se s svojimi družinami odkrito pogovarjale o menstruaciji.  V odgovor na sprejem njenih fotografij je Kaur sprva dejala:

Kaur je pozneje priznala, da so jo internetni troli dolga leta "puščali zlomljeno".  Da bi rešila svojo zaskrbljenost, je prišla do zaključka, da "sem tukaj, da povem svojo resnico in se povežem z bralci, in to je to. Nobeden od negativnih glasov na koncu ni pomemben."  Njeno delo je bilo predmet memov na spletu, običajno v obliki parodičnih pesmi, ki se posmehujejo Kaurjinem slogu pisanja, njihov pomen pa so primerjali z domačo obrtjo .   Ahsan je Kaur opisal kot "blago družbenih medijev", status, iz katerega uspeva.  Leta 2017 je izšla knjiga s parodijo Kaurjine poezije z naslovom Mleko in trta .  Kaurjeva meni, da je prezir do slave, ki si jo je pridobilo njeno delo, analogen sprejemanju sodobne umetnosti, obe vidi kot omalovaževana ker se ji zdi "prelahka".

Waheed in Shire, sta jo obtožila plagiatorstva.  Trditve Waheedovih podpornikov temeljijo na Kaur in njenem pomanjkanju ločil ter uporabi medu kot metafore.  Kaur je zanikala trditve o plagiatorstvu in špekulirala o verjetnosti podobnih izkušenj ter da sta njuni podobni temi in uporabi medu "stranski produkt našega časa", pri čemer je primerjala sodobni sočasni umetniški razvoj s tistim v renesančnem ali viktorijanskem obdobju.

Kritike
Kritiki so bili manj pohvalni kot splošno občinstvo. Kaur je postala "nekakšna polarizirajoča figura v literarnih, založniških in medijskih skupnostih", čigar "delo je pogosto označeno kot nizkotno ali banalno ali pa ni v skladu z bogato tradicijo resne poezije".   Njena uporaba sodobnega ljudskega jezika je povzročila jezo.  Druge kritike vključujejo njeno delo, ki je formulatično, oslabljeno in mladoletno.    Kaur meni, da njenega dela ni mogoče "v celoti pregledati ali kritizirati skozi belo ali zahodno lečo".  Po besedah Alija "na Kaur ni bila izražena nobena kritika, ki ni bila podobno izražena na "dejanskih" pesnikih", pri čemer navaja Mary Oliver, Jane Hirshfield, Sharon Olds in Lucille Clifton .

Rebecca Watts je bila kritična do priljubljenost in dostopnost poezij ter jih opisala kot "brez umetnosti" in za katere je značilno "odkrito očrnitev intelektualne angažiranosti in zavračanje obrti" – Priya Khaira-Hanks, ki je pisala za The Guardian, je pripomnila, da je Kaurjina dostopnost pogosto vodila do " pretirana preprostost".    Wattsovo kritiko so podpirali in zaničevali tako pesniki.  Isen je zaničevala, kar je imela za pretirano pojasnjevalni slog, zlasti med izvedbo, saj "pozno vsiljevanje ritma" ne uspe prikriti kompozicijskih pomanjkljivosti.  Carl Wilson in Khaira-Hanks sta trdila, da sta njen glavni uspeh in osebna identiteta prispevala k temu, da ljudje ne upoštevajo njenega dela.   Kaurjina poezija in njen status pesnice sta bila zavrnjena in ocenjena kot nepristna.

Watts je menil, da se Kaur bolj ukvarja z avtentičnostjo kot s "tradicionalno umetnostjo poezije".  V eseju za The Baffler je Soraya Roberts Kaurja grajala kot neiskreno predstavnico zatiranja žensk v Južni Aziji, medtem ko se domnevno ukvarja predvsem s komodifikacijo; Pâquet je ponovil podobne občutke.   Pomanjkanje razlikovanja med osebno in kolektivno travmo je bilo deležno dodatnih kritik.  Miller je na Kaurjino delo gledal kot na nejasno in klišejsko, pri čemer je navedel primer, ki prikazuje zatiranje: kaur, ženska iz sikhija .

Leta 2017 sta BBC in Vogue Kaur uvrstila na sezname žensk leta; Quill & Quire sta za svoj letni seznam najboljših knjig izbrala The Sun and Her Flowers .    Naslednje leto je bila vključena na seznam nastajajočih umetnikov Forbes in Elle .   Leta 2019 je The New Republic razglasil Kaur za "pisateljico desetletja" zaradi njenega vpliva na medij poezije; to je sprožilo razpravo o tem, ali je nagrada zaslužena, pa tudi o njenem delu nasploh.

Dela

Knjige

 Milk and Honey (2014)
 The Sun and Her Flowers (2017)
 Home Body (2020)
 Healing Through Words (2022) - and interactive journal

Članki

 Zgodovina kaže, da se je Pandžab vedno boril proti tiranom. Modi ni nič drugačen . (2020)

Uprizoritveni filmi

 Rupi Kaur v živo (2021)

Glej tudi
 Seznam kanadskih pesnikov

Viri

Kanadski pesniki


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text:
Caterina Barbieri ~ Ecstatic Computation
By postrockcafe / April 29, 2019 / Electronic / Leave a comment
Ecstatic Computation begins with one of the best tracks of the year, and ultimately proves to be a rewarding full-length listening experience. Festival favorite Caterina Barbieri has been so prolific that one forgets she's still a relatively new presence, exploding on the scene only five years ago but already releasing an equal number of albums. Her latest release is her crown jewel.
"Fantas" is simply magnificent, an intricate tapestry of interlocking synths, referencing everything from church organs to 80s electronics to melodic industrial music. The piece just keeps moving and developing over the course of ten and a half minutes, to the extent that one finds it hard to believe that much time has passed. The music draws the listener into a trance-like state through which enlightenment may enter. And now the rub: this is exactly what it is intended to do. Barbieri's liner notes state that she seeks to "generate … a sense of ecstasy and contemplation … a state of trance and wonder where the perception of time is distorted and challenged." Theory confirmed! The trance is so deep that the transition to the much shorter "Spine of Desire" is barely noticed, coming across as a coda to the larger work. "Closest approach to your orbit" extends the suspension, patterns playing like the sonic version of a fabric store. So much richness, so many hues, such synesthesia! Only when harsher tones enter mid-piece, like a car crash in a waterfall, is the trance broken. At this point, one wonders how long it might have been sustained.
The chord pattern of "Closest" bleeds into "Arrows of Time," obliterating the delineation between tracks. The wordless vocals of Annie Gårlid and Evelyn Saylor cement the association with prayer. Hildegard of Bingen is referenced in the final minute as their voices pierce the underpinnings of the clouds. By "Pinnacles of you," one feels the urge to dance ~ not in a club fashion, but like a whirling dervish. And then one realizes, there are no drums. The illusion of drums is created by the rhythms. The wonder of the release is that such a spiritual feeling is created via machines, a modern miracle from a brilliant creator whose every note screams, let there be light. (Richard Allen)
Tags: Caterina Barbieri, Ecstatic Computations, Editions Mego, Richard Allen


text:
Oakland first-grader 'as shocked as anyone' by…
Oakland first-grader 'as shocked as anyone' by discovery of gun, school officials say
By Katy Murphy | Bay Area News Group
OAKLAND — A gun that a teacher found Tuesday in a first-grader's backpack apparently was carried to school without the child's knowledge.
"The student was as shocked as anyone," said Troy Flint, a spokesman for the Oakland school district.
The weapon did not discharge, and no one at Prescott Elementary School was injured in the incident, which was immediately reported to the authorities. School district police interviewed the child, the child's guardian and the teacher; they have concluded that someone who knew the student placed the weapon in the backpack "probably for other motives we can't discuss right now," Flint said.
As of Wednesday, no charges had been filed, Flint said.
In a letter, Principal Enomwoyi Booker reassured families that the incident was unusual for the school and that it was being taken seriously.
"Please know that this incident is an aberration and not reflective of the culture we have developed at Prescott," she wrote. "This campus remains a safe and secure learning environment and we will continue to update you on security matters affecting Prescott and its students."
Prescott is a small elementary school a few blocks from the West Oakland BART station. The school district will send violence prevention specialists to work with students, Flint said, and Oakland school police officers likely will talk to the children about the dangers of guns.
"I think it underscored the incredible prevalence of firearms in this society, and the potential for kids to become numb to the potential consequences because of overexposure at an early age," Flint said.
Read Katy Murphy's Oakland schools blog atIBAbuzz.com/education. Follow her at Twitter.com/KatyMurphy.
Katy Murphy | State government reporter
Katy Murphy is based in Sacramento and covers state government for The Mercury News and East Bay Times, a beat she took on in January 2017. Before that, she was the news organization's higher education reporter, writing about UC, CSU, community colleges and private colleges. Long ago, she covered Oakland schools and other K-12 education issues.
Follow Katy Murphy	@katymurphy


text:
Q: I want to acces value from json response in flutter JSON RESPONSE
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        "registered": "2022-10-18 05:48:42",
        "displayname": "user1@gmail.com",
        "firstname": "",
        "lastname": "",
        "nickname": "user1@gmail.com",
        "description": "",
        "capabilities": {
            "subscriber": true
        },
        "role": [
            "subscriber"
        ],
        "shipping": null,
        "billing": null,
        "avatar": "https://secure.gravatar.com/avatar/59029276955677351421b3ff6bf5ee4c?s=96&d=mm&r=g",
        "is_driver_available": false,
        "dokan_enable_selling": ""
    }
}

I  want to access role value in user in my flutter code, i am not sure how can i get role value from my JSON Response.
Here is my Flutter Code
LoginResponseModel.fromJson(Map<String, dynamic> json) {
    token = json['cookie'];
    data = Data.fromJson(json['user']);
  }
  Map<String, dynamic> toJson() {
    Map<String, dynamic> data = Map<String, dynamic>();
    data['user'] = this.data.toJson();

    return data;
  }

DATA CLASS
class Data {
  late String token;
  late int id;
  late String email;
  late String nicename;
  late String firstName;
  late String lastName;
  late String displayName;
  Data(
      {required this.token,
      required this.id,
      required this.email,
      required this.firstName,
      required this.lastName,
      required this.displayName,
      required this.nicename});
  Data.fromJson(Map<String, dynamic> json) {
    id = json['id'];
    token = json['cookie'] ?? '';
    email = json['email'] ?? '';
    firstName = json['firstName'] ?? '';
    lastName = json['lastName'] ?? '';
    displayName = json['displayName'] ?? '';
    nicename = json['nicename'] ?? '';
  }
  Map<String, dynamic> toJson() {
    final Map<String, dynamic> data = Map<String, dynamic>();
    data['id'] = id;
    data['email'] = email;
    data['firstName'] = firstName;
    data['lastName'] = lastName;
    data['displayName'] = displayName;
    data['nicename'] = nicename;
    return data;
  }

A: Add another variable to your Data class like :
late List<String> role;

then pass value like this in Data.fromJson:
Data.fromJson(Map<String, dynamic> json) {
    id = json['id'];
    token = json['cookie'] ?? '';
    email = json['email'] ?? '';
    firstName = json['firstName'] ?? '';
    lastName = json['lastName'] ?? '';
    displayName = json['displayName'] ?? '';
    nicename = json['nicename'] ?? '';
    role = json['nicename'] ?? [];
  }

and you can access it in user like this:
var loginData = LoginResponseModel(...);

print(" role 1 = ${loginData.data.role[0]}");//role 1 = subscriber

A: Firstly you can use this particular tool for creating the data classes from Json.
https://app.quicktype.io/
Your data class would look like that
import 'dart:convert';

Data dataFromJson(String str) => Data.fromJson(json.decode(str));

String dataToJson(Data data) => json.encode(data.toJson());

class Data {
    Data({
        this.cookie,
        this.cookieName,
        this.user,
    });

    String cookie;
    String cookieName;
    User user;

    factory Data.fromJson(Map<String, dynamic> json) => Data(
        cookie: json["cookie"],
        cookieName: json["cookie_name"],
        user: User.fromJson(json["user"]),
    );

    Map<String, dynamic> toJson() => {
        "cookie": cookie,
        "cookie_name": cookieName,
        "user": user.toJson(),
    };
}

class User {
    User({
        this.id,
        this.username,
        this.nicename,
        this.email,
        this.url,
        this.registered,
        this.displayname,
        this.firstname,
        this.lastname,
        this.nickname,
        this.description,
        this.capabilities,
        this.role,
        this.shipping,
        this.billing,
        this.avatar,
        this.isDriverAvailable,
        this.dokanEnableSelling,
    });

    int id;
    String username;
    String nicename;
    String email;
    String url;
    DateTime registered;
    String displayname;
    String firstname;
    String lastname;
    String nickname;
    String description;
    Capabilities capabilities;
    List<String> role;
    dynamic shipping;
    dynamic billing;
    String avatar;
    bool isDriverAvailable;
    String dokanEnableSelling;

    factory User.fromJson(Map<String, dynamic> json) => User(
        id: json["id"],
        username: json["username"],
        nicename: json["nicename"],
        email: json["email"],
        url: json["url"],
        registered: DateTime.parse(json["registered"]),
        displayname: json["displayname"],
        firstname: json["firstname"],
        lastname: json["lastname"],
        nickname: json["nickname"],
        description: json["description"],
        capabilities: Capabilities.fromJson(json["capabilities"]),
        role: List<String>.from(json["role"].map((x) => x)),
        shipping: json["shipping"],
        billing: json["billing"],
        avatar: json["avatar"],
        isDriverAvailable: json["is_driver_available"],
        dokanEnableSelling: json["dokan_enable_selling"],
    );

    Map<String, dynamic> toJson() => {
        "id": id,
        "username": username,
        "nicename": nicename,
        "email": email,
        "url": url,
        "registered": registered.toIso8601String(),
        "displayname": displayname,
        "firstname": firstname,
        "lastname": lastname,
        "nickname": nickname,
        "description": description,
        "capabilities": capabilities.toJson(),
        "role": List<dynamic>.from(role.map((x) => x)),
        "shipping": shipping,
        "billing": billing,
        "avatar": avatar,
        "is_driver_available": isDriverAvailable,
        "dokan_enable_selling": dokanEnableSelling,
    };
}

class Capabilities {
    Capabilities({
        this.subscriber,
    });

    bool subscriber;

    factory Capabilities.fromJson(Map<String, dynamic> json) => Capabilities(
        subscriber: json["subscriber"],
    );

    Map<String, dynamic> toJson() => {
        "subscriber": subscriber,
    };
}

After that you can parse it like that.
// To parse this JSON data, do
final data = dataFromJson(jsonString);
final role = data.user.role[0]; // Inorder to get the role value from json.