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CULTURE 09/03/19
Cultural Appropriator Ariana Grande Ironically Sues Forever 21 for "Misappropriating" Her Image
Forever 21 already has a fraught legal history regarding knock-offs and violations of labor laws, in addition to numerous culturally insensitive products. But crossing the "7 Rings" singer may be their most public faux pas yet.
Meg Hanson
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The only thing Ariana Grande and Forever 21 have in common is their love of cultural appropriation. But now it seems that Forever 21 has culturally appropriated Ariana Grande, and she's pissed.
To be more precise, Forever 21, the unofficial sponsor of Jersey Shore fashion and what 10-year-old girls think grown women wear, has been accused of misappropriating Grande's image. The 26-year-old singer has filed a $10 million lawsuit against the failing retailer, alleging that they hired a look-alike model and recreated distinct imagery from her "7 Rings" music video in order to promote their garbage, sweatshop-made clothing. Documents filed in California federal court detail that Forever 21 reached out to Grande for an endorsement deal, which "never came to fruition because the amounts that Forever 21 offered to pay for the right to use Ms. Grande's name and likeness were insufficient for an artist of her stature." Considering the fact that the company is expected to file bankruptcy soon, it was desperate enough to skirt around trademark laws and use Grande's likeness anyway.
Forever 21 already has a fraught legal history regarding knock-offs and violations of labor laws, in addition to numerous culturally insensitive products. But crossing the "7 Rings" singer may be their most public faux pas yet. "Rather than pay for that right as the law requires, Defendants simply stole it by launching a misleading campaign across its website and social media platforms primarily in January and February 2019," details the full complaint. "The campaign capitalized on the concurrent success of Ms. Grande's album Thank U, Next by publishing at least 30 unauthorized images and videos misappropriating Ms. Grande's name, image, likeness, and music in order to create the false perception of her endorsement."
Evidence cited in the lawsuitNew York Times
In response, Forever 21 released a statement disputing the allegations. Despite Grande's lawyers claiming that the featured model is "strikingly similar" to the singer, the model's "uncanny" resemblance really lies in the way she is posed. Forever 21's ads clearly mimic the nauseatingly neon aesthetics of Grande's "7 Rings" music video, from the model's fashion to the set design. However, the clothing company denies the similarities and simply states: "We are hopeful that we will find a mutually agreeable resolution and can continue to work together in the future."
This type of lawsuit has plenty of precedent, with Kim Kardashian, Katherine Heigl, Vanna White, and Bette Miller among those who have sued companies for misappropriating their public images. Celebrities have the right to sue companies for using their likenesses without permission under laws like the "Right of Publicity": an intellectual property right that defends a public figure's "protected attributes" from being exploited for commercial gain without their consent. But the trick to winning these kinds of cases is proving that a celebrity's image has been damaged. Unsurprisingly, most cases settle out of court rather than go to litigation.
Her.ie
While Grande filed for $10 million in damages, the matter will probably be settled for an undisclosed sum. Perhaps she'll imitate Katherine Heigl, who sued Duane Reade for $6 million in 2014 after the company posted a paparazzi picture of her leaving one of their chain stores to their social media accounts; their settlement allegedly required Duane Reade to make a sizable contribution to Heigl's charity foundation.
Considering Grande's support of Planned Parenthood, perhaps some public good will come of this meeting of cultural offenders. Before (hopefully) filing bankruptcy, Forever 21 could empty its coffers to fight recent oppressive abortion bans and fund reproductive rights programs. Or they could just pay Ariana Grande more profit for wearing "culture as a costume." After all, it must be difficult to have her identity be co-opted for the sake of trend-setting and capitalist gain, but then again: irony.


Also known as the French Water Dog, the Barbet is a happy, smart, fun-loving canine companion. This faithful companion is not only intelligent but beautiful as well. If your life has been enriched by a Barbet, then our 'Barbets Make Me Happy' apparel is waiting for you!


A series on going deeper into mental health and wellness.
This article is part of a series going deeper into mental health and wellness.
I'm having a stressful week and also having a hormonally compromised week, so I figure now is a good time to talk about self care.


Combine paprika, onion powder, salt, garlic powder, rosemary, pepper, and oregano in a small bowl and mix well. Reserve 1 tablespoon of the spice mix and set aside.
In a large ziplock bag, place the quartered chicken and spice mix. Marinate for 1 hour or overnight.
Add the carrots, potatoes, and corn to a bowl and drizzle with oil and remaining 1 tablespoon of spice mix and toss until thoroughly coated.
Heat a large pan with oil over high heat. Add the chicken pieces and cook until golden brown on both side. Set aside.
Place the chicken and veggies on a sheet of aluminium foil. Top with butter and thyme. Fold the foil over the chicken and vegetables and cinch the edge so that no air can escape.
Bake for 45 minutes, or chicken is completely cooked.
Made this 3 times. Super easy and taste awesome. Not a fan of rosemary so I left it out still came out good, my kids loved it!
Added broccoli & marinated the veggies as well! Also used butter to get a nice color & crust on the chicken before putting it in the oven!
I ended up baking the chicken for a little over an hour. Other than that, the recipe was solid and it tasted great!
45 min in the oven is not nearly enough for chicken on bone. At least 3 hours!


Elizabeth's Legacy is the first book in the Royal Institute of Magic series.
Ben's double life continues at the Royal Institute of Magic. To most, he's a talented apprentice and an exceptional spellshooter, but Ben is also a Guardian, responsible for uniting Elizabeth's Armour, the only artefact powerful enough to overthrow the evil dark elves. With two pieces of the armour secure, finding the third may be Ben's toughest challenge yet. His only clue is a magical key, a tenuous link to a legend called the Silver Dwarf. With the dark elves slowly conquering the Unseen Kingdoms, Ben races against time to gather the pieces of armour and unite the Guardians entrusted with them. If that wasn't hard enough, new challenges and old enemies await him at the Institute, and his friendship will be tested like never before.
The Shadowseeker is the second book in the Royal Institute of Magic series.
Ben Greenwood is continuing his apprenticeship at the Royal Institute of Magic, hoping things will be slightly less complicated now that he has advanced to the second grade. Fat chance. Coupled with the sterner challenges that the second grade brings, there is also the small matter of the impending dark elf invasion, making life at the Institute even busier than usual. Ben is the only one who can stop them, by finding Elizabeth's Armour and its Guardians. Ben has retrieved one piece of the Armour � the boots � but the rest remain hidden. He has just one clue, which could lead to Elizabeth's Helm: an old black and white photo given to him by the Master of Apprentices. Ben must split his time between his apprenticeship and searching for the helm, before the dark elves strike and all hell breaks loose. The Protectors is the third book in the Royal Institute of Magic series.


High Quality leather mens wallet , size 12.5*2*10cm. Available in coffee and black color.
Consist of 3 Credit card slots, notes zipper slot, Photo slot, Coin buttoned pouch. perfect combination of slots to give you the ease to carry your valuables.


Move On To Fame And Fortune Leaving Card. As someone leaves mark the special occasion with this striking gold foil finished leaving card that is blank inside for your message. The card is 170mm high by 140mm wide and is printed in the UK from well managed forests.


I have generated a sitemap for my website but with the new website builder I am unsure where to upload the file since the new builder doesn't seem to have a "file manager" anymore. Can anyone steer me in the right direction?
Thank you! That is great to know!


I hope everyone is having a great Memorial Day weekend. What amazing weather! Just sharing a few pics from Friday afternoon at Big Sable Point. Wind was light so it was surfboards only but still great to be out on water.
On a side note we also got the Manistee Surf Cam back up and running. It will be back online late tonight or Monday.
Michigan Dawn Patrol is a kiteboarding blog focused on Michigan. If you enjoy the content we create please support by subscribing, liking, and sharing.


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June 9, 2017 June 9, 2017 David John Chávez
Review: A lot to unpack in SF Playhouse's brilliant 'Roommate'
Sharon (Susi Damilano, L) and Robyn (Julia Brothers) make for strange housemates in San Francisco Playhouse's production of "The Roommate," running through July 1st. (photo by Jessica Palopoli)
The first thing I told my friend upon the conclusion of San Francisco Playhouse's production of "The Roommate" was this – "Wow, that's a lot to unpack."
The irony of that statement was completely lost on me. This play, from the moment that the two 50-something women engage in their first awkward exchange to the powerful conclusion of their newfound bond, is all about unpacking the literal and symbolic boxes that line the stage. As each box is opened, new secrets are discovered. And with those secrets, especially for the straight-laced Sharon, endless possibilities await.
Those possibilities are unpacked with absolute precision in Jen Silverman's fantastically written play, a production unified beautifully by the stupendous direction of Becca Wolff. It's a piece that kind of stays with you, and the more you analyze what was just witnessed, the more stunning the story becomes.
Sharon (a magnificent Susi Damilano) has fallen into a bit of a slump. She is merely taking up oxygen in her Iowa home, and her entire existence seems to hinge on walking by places where people do things, when she goes out at all. I guess you can say it's another way to get caught up on her window yoga shopping. There's also a reading group she is a member of, which isn't really fulfilling her zest for adventure. Throw in the fact that the thing she is most known for, being a mom, is a bit hard since her son lives in New York, but that's not really the problem. It's more about the fact that he doesn't pick up his phone, might be gay and might be dating a lesbian, but there's no way that can happen, because he's, well, her son. Not exactly solid logic, but hey, at least she's got those yoga classes.
Her lack of spirit or ambition is challenged greatly by the entrance of Robyn (a striking Julia Brothers), formerly of the Bronx, someone who Sharon refers to constantly as a "homosexual person" as if being gay needs some kind of qualifier. Robyn is someone who has an affinity for homegrown marijuana, which Sharon refers to as drugs, which I guess is technically true, but still feels weird to hear as it relates to a joint. Robyn is also evasive in her reasoning for leaving the Big Apple for the vast expanses of Iowa. That piece of their early discussions are quite comical considering Sharon is painfully curious about every little detail, and just might be the kind of roommate that can drive one crazy.
Sharon (Damilano) tries in vain to reach her son. (photo by Jessica Palopoli)
Robyn also loves other forms of alternate living and refers to herself as a slam poet. All of this, for some reason, fascinates the hell out of Sharon, right down to her growing love for Robyn's vegan milk in her coffee.
The 105-minute, no intermission production starts off with a strange energy, playing a bit on the presentational side. But this is really the brilliance of Silverman's quirky and staccato script, assisted greatly by Wolff's fantastic direction on top of Nina Ball's masterful scenic design. The play initially moves in the spirit of the classic Neil Simon play "The Odd Couple," right down to the little detail where Sharon pulls out an aerosol can to extinguish the funk of Robyn's regular cigarette. Even when moments get a bit more serious, the humor and balance of the script still maintain its richness.
The play continues to unpack its brilliance and gets a bit more serious, and the adorable Sharon, who we thought we knew, begins to find more and more intrigue into unpacking Robyn, in both literal and figurative ways.
Now this is where I need to be very careful. The rest of the story I have no intention or desire to spoil. All I can say is that each moment that unfolds is wonderful, starting with Sharon's supposed search through Robyn's things, looking for an apple peeler. From this moment on, situations that felt predictable were not hindered by said predictability; rather they unfolded in such truthful and organic ways.
Such a nuanced script and its production are only possible with the absolute brilliance of both Damilano and Brothers. Their work reveals itself very early on and continues to move through space with confidence and truth. Damilano in particular plays her role with a naïve, charming warmth, a complex woman in a constant state of arrested development who evolves beautifully throughout the piece. Yet as she learns more about Robyn, and as Robyn learns more about herself, both women yearn for more in their lives. More laughs and more adventures, and an absolute refusal to be pigeonholed.
And why should they? Silverman argues brilliantly in her script that a woman in her 50's is just as much a woman as in any part of her lives. Does Sharon need to be only identified in maternal ways? Of course not. Is Robyn too old to know better? I guess so.
But in these modern times, badass women in their 50's are still badass women.
San Francisco Playhouse presents "The Roommate"
Written by Jen Silverman
Directed by Becca Wolff
The Word: A play full of laughs, self-discovery and poignancy, the production directed by Wolff is brilliant and beautifully unified.
Stars: 5 out of 5
450 Post Street, San Francisco, CA
Through July 1st
Tickets range from $20 – $125
For tickets, call (415) 677-9596 or visit www.sfplayhouse.org
Becca Wolff
Julia Brothers
Nina Ball
Susi Damilano
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redpajama_set_name: RedPajamaCommonCrawl


50 Dragons is a game created by game developer Aristocrat. This slot offers you 5 reels and 50 paylines to help you rake in the big wins. It was first made popular in land-based casinos, Aristocrat created its online equal and offers an identical experience. If you a fan of this slot at your local casino, then playing it online will be even more appealing when you consider the higher payouts it offers.
The game has a very nice colour palette in place, a darker red and black combination, and by the looks of it, it seems to create a map in the background. Accompanied by golden symbols, it looks really neat overall. As it also is available at land-based casinos, Aristocrat has chosen to add all that you see and have come to love with its online version including its background sounds.
The bonus feature available to this game is something that is also referred to as a 'WILD' symbol, looking like a pearl. This pearl icon, substitutes for all other symbols available in the game to help get you that winning payline. It doesn't, however, substitute for the Scatter symbol, which is only there to initiate you into the free spin feature. Something to note, that when you're playing the free spin feature, your pearls will become a much higher value and in return, give you a much larger win when spinning in that mode.
In order to start the free spin feature, you need three or more scatter symbols, also known as golden Ingots, showing on your reels. When initiated, you receive ten free spins that you can play with. The wild symbol in the free spin feature also becomes available at a much higher value and can also be stacked, giving you the chance of a massive win.
The free spin feature is also something that can be re-triggered when in the mode, by receiving three scatters again on your reels; it'll give you five more free spins. It can only be re-triggered once.
50 Dragons RTP is set to 94.71%, which is an okay settlement since you have a good chance of winning large.
Overall, this is quite a nice and enjoyable game. The colours are nice, the sound in the background may, however, become quite repetitive as it's the same noise being repeated. However, you still have a fair chance of some good wins.


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Video released of taxi driver being assaulted by man with padlock
SAN FRANCISCO (KTVU) - A San Francisco taxi driver told KTVU he feels lucky he wasn't seriously hurt after a passenger beat him with a metal padlock.
Ben Valis works for National Veterans Cab Company in San Francisco.
The 11-year taxi driver picked up a passenger at 7th and Townsend in the city's South of Market neighborhood just after midnight Tuesday.
The young man asked to be dropped off at the BART station at 5th and Market.
Valis offered to take him to the Civic Center BART station instead, saving him a few dollars on the fare. The passenger agreed.
As the two approached the station, the passenger suddenly went on the attack, striking Valis several times with a padlock.
"I'm just so lucky he only hit me once or twice," Valis said. "Otherwise, you'd be interviewing me in the hospital right now."
Valis was able to pull the car over.
The passenger jumped out and ran towards the Civic Center BART station. Valis called 911.
"I'm so lucky that he took off running rather than trying to confront me some more," Valis said.
He was checked out by paramedics at the scene and is okay.
Valis believes the man was after the multiple phones on the dashboard.
He described the suspect as a tall, thin, light-skinned man in his early to mid 20s, was last seen wearing a dark-colored T-shirt and blue jeans, and that he mentioned living close to the Fruitvale BART station.
BART police are looking to see if the man pops up in their surveillance footage.
Valis is grateful the incident was caught on the cab's dashcam, putting a face on his attacker.
"I'm hoping that putting the video out there will dissuade people from doing this in the future, because your face is going to be on the news," Valis said. "Hey man, don't try to rob a cab driver."


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Free classical music (mp3s) from composer
26 oct 1685 (Napels) - 23 jul 1757 (Madrid)
Son of Alessandro Scarlatti.
Buy sheetmusic from Scarlatti at SheetMusicPlus
Name/Genre/Year/Popularity K L
Allegretto in A Major (1;2m)
Cibavit Nos Dominus (1;3m)
Sonata K41 in D minor (2;5m) 41
Sonata L104 in C major (1;2m) 159 104
Sonata L118 in F minor (4;7m) 466 118
Sonata L119 in F major (1;4m) 366 119
Sonata L122 in D major (1;5m) 118 122
Sonata L138 in A minor (1;6m) 109 138
Sonata L179 in G major (1;2m) 152 179
Sonata L21 in E major (1;7m) 162 21
Sonata L22 in E minor (2;3m) 198 22
Sonata L238 in A major (2;2m) 208 238
Sonata L241 in D major (1;6m) 54 241
Sonata L266 in D minor (2;3m) 517 266
Sonata L267 in D minor (1;7m) 52 267
Sonata L294 in F sharp minor (2;3m) 447 294
Sonata L325 in E minor (1;3m) 98 325
Sonata L33 in B minor (5;6m) 87 33
Sonata L338 in G minor (1;2m) 450 338
S (continued)
Sonata L352 in C minor (2;3m) 11 352
Sonata L358 (1;2m) 95 358
Sonata L366 in D minor (3;3m) 1 366
Sonata L382 in F minor (1;5m) 69 382
Sonata L384 in F major (1;4m) 17 384
Sonata L390 in G minor (1;2m) 4 390
Sonata L391 in A major (1;2m) 39 391
Sonata L396 in B flat major (1;4m) 551 396
Sonata L41 in A major (1;5m) 268 41
Sonata L413 "Pastorale" in D minor (3;4m) 9 413
Sonata L427 in E minor (1;9m) 402 427
Sonata L430 in E major (4;3m) 531 430
Sonata L449 in B minor (7;4m) 27 449
Sonata L58 in D minor (1;2m) 64 58
Sonata L80 in G major (1;3m) 79 80
Sonata L86 in G major (1;5m) 520 86
Sonata L93 in A minor (1;2m) 149 93
Sonata LS10 in D major (1;4m) 335 S10
Sonata LS2 in C major (1;4m) 420 S2
Explanation (2;5m) or (2;5m;v)
5m duration in minutes of longest performance (rounded)
v (optional) for this work a video is available
Buy Scarlatti downloadable sheetmusic at VirtualSheetMusic
Chopin, F.
Piano Sonata No.2 in B flat minor
Kaila Rochelle
Puccini, G.
Gershwin, G.
Rhapsodie in blue
Aviram Reichert
Eine kleine Nachtmusik (serenade no. 13)
Orchestre Nationale de France
Piano Concerto No. 1
Dimitris Sgouros


As you head out for a day of cycling, the last thing you want to do is drag along a big, heavy hydration pack. Drinking enough fluids is crucial, especially if you're planning on spending the day riding the local trails. However, you can find a lightweight bag with enough storage space for all your essentials, along with a reservoir that can hold enough fluids for the day.
Many cycling hydration packs feature a breathable mesh material to promote ventilation and keep your skin cool and comfortable, even on the warmest days. If you prefer to have extra storage space, look for a bag with expandable storage or dedicated storage compartments. Many cycling-oriented hydration packs feature convenient exterior helmet storage options. Some also have places to store a blinking light, sunglasses, or tools.
If you're looking for something else, browse more cycling hydration packs on Amazon for more options.
The Dakine Session 12L Backpack is designed with longer trail rides in mind. Highlights include a breathable back panel and shoulder straps to keep skin cool and comfortable along with a fleece-lined pocket for sunglasses. Internal organizer pockets offer a safe and convenient storage solution for smaller items such as keys and an ID. This backpack has a 2-liter (70-ounce) reservoir along with a bite valve for added convenience. An external helmet carry system and integrated rescue whistle is also included.
A smaller version, Dakine Session 8L Backpack, is also available.
Buy the Dakine Men's Session 12L With Reservoir Backpack here.
Find more Dakine Men's Session 12L With Reservoir Backpack information and reviews here.
This CamelBak M.U.L.E. Hydration Pack caters to mountain bikers who need a hydration pack for longer rides. Despite its generous 3-liter/100-ounce capacity, this bag remains lightweight and portable enough for a comfortable ride on the trails. Whether you're planning a day trip or are just going out for a few hours, handy features such as an overflow storage compartment and reflective accents make the pack a top choice for any outing. A removable stability belt helps keep the pack and its contents secure even on rough trails. External hooks allow for safe exterior helmet storage.
If you're looking for something a bit smaller, consider the CamelBak Classic Hydration Pack, which has a 2.5-liter/85-ounce capacity.
Buy the CamelBak M.U.L.E. Hydration Pack here.
Find more CamelBak M.U.L.E. Hydration Pack information and reviews here.
This hydration pack is a solid choice for the budget-conscious cyclist seeking a durable bag with plenty of storage capacity. The backpack includes a 2-liter/70-ounce water bladder yet is large enough to hold up to a 7-liter bladder pack. Other features include a net for helmet storage and a ventilated system that helps keep your back cool and dry. The backpack has two layers, including a inner layer designed just for holding water. It also comes with adjustable chest and shoulder straps along with waterproof material.
Buy the WACOOL Waterproof Hydration Bladder Pack here.
Find more WACOOL Waterproof Hydration Bladder Pack information and reviews here.
The Osprey Packs Raptor 14 is suitable for mountain biking and day hiking. Features include a stretch harness and hip belt for a more comfortable and secure fit, along with a helmet attachment that securely locks the helmet in place. There's also a blinker light attachment. A 3-liter/100-ounce capacity ensures you'll have enough hydration for longer rides on your favorite trails. A removable roll-out tool pouch offers secure storage space for all your tools, and conveniently fits into its own zippered lower pocket.
A women's version, Osprey Packs Women's Raven 14 Hydration Pack, is also available.
Buy the Osprey Packs Raptor 14 Hydration Pack here.
Find more Osprey Packs Raptor 14 Hydration Pack information and reviews here.
The Shimano Unzen 2 is designed for shorter face-paced rides on your favorite trails. Highlights include a 2-liter/68-ounce capacity and a secure helmet holder. A specially-designed harness hook allows for efficient and speedy adjustments on the go. The hydration compartment is designed to securely hold the reservoir in place at all times. Other features include a light attachment loop in the back and an eyewear holder loop on the shoulder strap.
A slightly larger version, Shimano Unzen 14 Liter Cycling Hydration Pack, is also available.
Buy the Shimano Unzen 2 Liter Cycling Hydration Pack here.
Find more Shimano Unzen 2 Liter Cycling Hydration Pack information and reviews here.
Stay hydration on your rides on or off the road with these hydration packs for cyclists.


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For Hanukkah, a Mormon Touch
Sonja Sharp
Flickr/Scott Ableman(Creative Commons).
A bit of balagan, as my family would say, has broken out over Utah Sen. Orrin G. Hatch's first foray into Jewish music, such as it is. Though his song, "Eight Nights of Hanukkah", bears no resemblance to any traditional Jewish music, it does treat an obviously Jewish theme—the story of Hanukkah—and was meant, in all earnestness, as a gift to the Jews. The New York Times called it "nonreturnable," probably an apt description for the way many American Jews feel about evangelicals and their love of all things Old Testament. Which is, truth be told, a little bit feh. After all, many American Jews are a) secular and b) liberal, whereas American Evangelicals are essentially the opposite.
Still, there is a treasured American tradition of Mormon- and Evangelical-on-Hebraic love, and Orrin Hatch loves Jews. Like, keeps a Torah in his office kind of love. Like, has more mezuzot (to be fair, also more doorways) than my house kind of love.
"I feel sorry I'm not Jewish sometimes," Hatch told the Times. Aww.
As with most Jewish holidays, the Christians read their own special meaning into the teachings of Hanukkah, a minor holiday celebrating the rebellion of a group of religious zealots in Jerusalem that occurred about two hundred years before the first Christmas. The senator—an avid hymn writer—does not himself carry the song, relying instead on the very talented Rasheeda Azar of Indiana. Talented, sure, but Ofra Haza you are not, sweetheart.
"So all it is is a hip-hop Hanukkah song written by the senior Senator from Utah. That's all it is." Priceless.
Eight Days of Hanukkah from Tablet Magazine on Vimeo.
Orrin Hatch Sings About Ted Kennedy
The Jewish Vote
Jeff Fleischer


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Showing results for tags 'sports coupe'.
sports coupe
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DUDE? IS THAT A SUPRA?
clarencegi75 posted a blog entry in MyAutoBlog
You've seen the meme, you know what it is, we review the new Toyota Supra! But just in case you haven't see how beautiful the new car is... ...in glorious red "Without Supra, I couldn't be master driver..." NANI!? What the hell is James up to this time!? With the Supra's 290-litre boot, it seems like James is a little afraid to get in the boot, so we put 'fun-sized' Julian in instead! Does he fit though? And more importantly, do they like the car? Or do they not? Only one way to find out! Watch the video to find out!
Mustang retains World's Best-Selling Sports Coupe title
chitchatboy posted a blog entry in MyAutoBlog
With 113,066 units of the Mustang sold in 2018, Ford's coupe gets to keep its World's Best-Selling Sports Coupe title for the fourth straight year. Ford announced the news on the eve of its 55th anniversary that sales in Europe went up by more than 27% so far in 2019 and its market share increased by half a point for 2018 over the previous year, reaching 15.4%. Thanks to the new Bullitt variant, 75,842 units were sold in the U.S. while 2,323 Mustangs found homes in the U.K., representing an increase of 5% over 2017. According to Ford, the Mustang was sold in 146 countries in 2018 and over 500,000 sixth-generation models have been sold globally since 2015. "We broke the mould when Ford launched the Mustang 55 years ago," said Jim Farley, Ford president of global markets. "Nothing says freedom, the wind in your hair and the joy of driving like Mustang; it's an icon. The roar of its V8 on a spring day, there's nothing better. No wonder it's the most popular sports coupe in the world."
retains
world's best-selling
2019 Audi TT RS (facelift)
DACH posted a topic in Conti Talk
Here's A First Look At The 2019 Audi TT RS Facelifthttps://carbuzz.com/news/here-s-a-first-look-at-the-2019-audi-tt-rs-facelift The copious amounts of camouflage could be deceiving. The current-generation Audi TT has been on sale in America since 2015, so it's due for a refresh to keep it relevant. To keep it fresh for a few more years, Audi is giving its popular sports car a facelift. Prototypes of the base model have been out testing for a while, but our spies recently spotted the updated hardcore Audi TT RS undergoing some hot weather testing in Europe. Copious amounts of camouflage cover the front, but we're expecting the styling changes to be relative minor compared to the current TT RS. The grille appears to be slightly wider with new vertical vents alongside it, and the front bumper has been redesigned. The headlights also appear to be slimmer, but that could just be the camouflage deceiving us. Elsewhere, the side skirts look more pronounced than the current model. At the back, the amount of camouflage suggests there will be big changes but they will probably be just as subtle. We can see some minor tweaks to the rear spoiler, and the rear taillights also sport new graphics that make the TT RS look more modern. There could also be some small changes to the rear bumper. Chances are the interior will be updated, too. The current Audi TT's interior is already loaded with tech, but that probably won't stop Audi updating the infotainment system. It isn't known if the 2019 Audi TT RS facelift will receive a power boost, however. The current model is powered by a turbocharged 2.5-liter five-cylinder unit that produces 395 hp and 354 lb-ft of torque, but we wouldn't be surprised if the facelifted model retains this setup. In the current model, 0-62 mph takes just 3.6 seconds, with power being sent to all four wheels through a seven-speed dual-clutch transmission. Audi is expected to reveal the TT facelift later this year, so we could see the 2019 TT RS debut at the Paris Auto Show in October before it goes on sale early next year.
Toyota's three-door C-HR Concept unvieled at the Paris Motorshow
Deeq posted a blog entry in MyAutoBlog
Toyota has revealed a radical high-riding sports coupe concept ahead of its official unveiling at the Paris motor show next week. The Japanese brand has released two images but limited details of its C-HR concept, a car that is said to preview a new compact SUV destined for production. While its sleek three-door body hints at what a jacked-up next-generation Toyota 86 could look like, the C-HR is bound to be a more conventional five-door when it eventually becomes showroom ready as a model to sit below the popular RAV4 and a rival for the likes of the Nissan Juke, Peugeot 2008 and Renault Captur. It has yet to confirm full details on the car's mechanical underpinnings or powertrain, but says it will feature a hybrid powerplant and introduce a new "diamond architecture" styling theme. It says the C-HR's soft overall form is contrasted by definitive crease lines "to represent the faceted surfaces of a highly-durable, precision-cut gemstone". Although Toyota says the C-HR shares the mechanics of a Prius, it hasn't yet revealed much in the way of technical details. Only three basic dimensions of the two-door vehicle are specified: a length of 4350mm, a width of 1500mm and height of 2640mm. This suggests that this future SUV will be smaller than the current Toyota RAV4.
toyota concept
Mitsubishi has no current plans to release a sports coupe
FaezClutchless posted a blog entry in MyAutoBlog
Not long ago, Japanese automakers either cancelled or stops production of their sports coupe models, mainly due to the economic crisis and shifting interests towards something else. But with the recent release of the Toyota 86 and Subaru BRZ and the upcoming unveiling of the next Honda NSX, interests towards Japanese performance coupes have grown strongly. And as usual, the rumour mill began churning so called news of Mitsubishi planning to release a coupe model. Before I continue, I will add a little about Mitsubishi
performance coupe
Nissan is preparing an 86/BRZ rival
Sales numbers for the Toyota 86 and Subaru BRZ has proven that the car is big hit with the consumers and it is not surprising that other automakers are taking notes about it. It is reported that Nissan is developing its own sports coupe to compete with Toyota and Subaru after been given the green light. This is not the first time Nissan has plans to develop a compact sports model. In 2008, Nissan was working on a 200SX/Silvia successor but the world economy at that time doesn't look too good and the idea was shelved. Now, a good question to ask is; how will the car look like? During last year's Shanghai Motor Show, Nissan unveiled a concept known as the Nissan Sport Compact Concept. It was rather small in size and it was dubbed the Nissan March on steroids. It gets a 1.6-litre turbocharged four cylinder engine that delivers 190bhp and a torque of 240Nm; most probably the same engine from the Nissan Juke. It is rumoured that the car will built on the Nissan Juke's platform and the project is known as the "Mini-Z" within the company. Since it is going to be built on the Juke's platform, the car could be either in front wheel drive or four wheel drive. If the same engine shown in the concept is chosen, then the car will have around 10 horsepower lesser than the 86/BRZ but with more torque. With Nissan planning to start production of the car in the fourth quarter of next year, expect to see a concept version of it by early next year. Photo credit: Auto Blog
nissan sport compact concept
sport compact concept
compact sports coupe
Lexus LF-LC could enter production within 3 years
SYF77 posted a blog entry in MyAutoBlog
[extract] According to Automotive News website, several insiders have confirmed that the beautifully-sculptured Lexus LF-LC concept will "almost certainly" make it to production due to overwhelming reaction. "There has been a lot of interest from dealers and distributors," a Lexus official said. Back in January 2012, company executives said that the flashy 2+2 sports coupe was not planned for production. The exotic concept was presented at the 2012 Detroit Auto Show back in January and won the
lexus lf-lf concept
lexus concept
2012 detroit motor show
sc430 successor
[extract] A few days after the unveiling of the Toyota GT 86, Subaru took center stage with the presentation of its version of the jointly developed rear-wheel drive sports coupe in production guise, the BRZ. The sports coupe will make its first public outing under the spotlight at the 2011 Tokyo Motor Show on 30 Nov 11. The production BRZ loses the concept
2011 tokyo motorshow
subaru brz coupe
boxer engine
Hyundai Veloster teaser video
http://www.youtube.com/watch?v=wmcDLgotMbI Hyundai Motor America is all-set to take the wraps off its latest new entry-level sports coupe called Veloster. The all-new Scirocco challenger will make its official worldwide premiere at the 2011 North American International Auto Show, which kicks off on the 10th of January. The South Korean largest carmaker today released an official countdown page where you can sign-up to receive updates on the car
new hyundai veloster
A night out with 2 Bentleys - The Continental Supersports and the Mulsanne
CheeJun posted a blog entry in MyAutoBlog
When you think of luxury, you'd think Shangri-la or Ritz Carlton. In car terms, that would probably equate to Mercedes and BMW. But with Bentley, its on a whole new level. Its the St. Regis. I recently managed to get a chance to view these two bucket loads of luxury at their official launch in Singapore at the Shangri-la hotel and boy did they ooze of class and panache. The Mulsanne, which was produced from 1982 to 1992 featured a full sized luxury sedan which was supposed to offer the unique blend of speed and agility of a Sports coupe, with the comfort of a proper Bentley. The name itself is derived from Bentley's 5 victories at the 24 Hours of Le Mans between 1924 to 1930 - The 'Mulsanne Straight' is the stretch of the racecourse where the cars reach their top speed. So speed is essential in the new Mulsanne or the car wouldn't live up to its legacy. And I'm happy to say it doesn't disappoint. Though the car is almost 5.5m long, 2.2m wide and weighs the Moon, it would still go from 0-100km/h in 5.3s and reach a top speed of about 300km/h. All this speed and power is only possible with its 6.75l V8 twin turbo with something called cam phasing and variable displacement or whatever that is, (which makes it sound faster) that produces 505bhp @ 4200rpm. But here's the real party piece. You see, a 'normal' luxury saloon car, say a BMW 5 Series with 4 doors and a big boot, would produce around 300NM of torque. But in this, it produces 1020NM of torque at 1750rpm! I wouldn't be surprised to see a blown-out tire at the garage of its owner or two distinct holes in the ground the shape of semi-circles. That is just an immense amount of torque. And the interior is very spacious, comfortable and well equipped. Its just too bad I didn't get to sit in one that actually moved on the road because then I could start talking about how the suspension evens out the bumps or how the engine sounds. So on the whole. the new Mulsanne definitely looks and feels like what a proper Bentley should. But what if you are the type of person who only likes to have luxury and speed, but only share it with one other person? Worry no more because the Bentley Continental Supersports is the perfect car for you. It is the most powerful, most extreme Bentley coupe ever made and it even runs on both petrol and biofuel using FlexFuel technology. It has a 6.0l W12 twin turbo engine which produces 621bhp and with 800NM of torque and 0-100 km/h is dealt with in 3.9s in a car that weighs 2.2 tons and its maximum speed is 329km/h. Quick car! And if you were there to see its brake discs, they were the size of a Nissan Latio's steering wheel.. And the Supersport scores in the looks department as well. The pristine shade of White on this body looks absolutely perfect for this car and the huge 20 inch black alloy rims announces to the world that it means business. On to the interior. The Supersports is focused on being lighter than the Continental GT so the entire cabin is littered with carbon fibre trim. On the dash and everything. It is tastefully done with a matte finish and all the switches and buttons feels bespoke to this car. And though this is the most extreme Bently ever made, it still features equipment that you see in a luxury sedan like cruise control, an in-built phone and even a space in the back for your golf bag which is well protected by a carbon fibre beam which I presume is to stop it from rolling about. The seats are relatively hard but they offer great support and it feels like a glove to the body's contours. Both of these machines are wonderful. They bring the unthinkable to reality and the level of luxury is suited for royalty. However, the thing that left a niggling feeling behind is that a Rolls Royce still is the ultimate luxury saloon in my opinion. Somehow, they just feel more special, the name and just the look of their cars would bring a sense of unparalleled royalty. The Bentleys are great cars, but I just feel that they aren't as special.
luxury sedans


This book connects the different topics and professions involved in information technology approaches to architectural design, ranging from computer-aided design, building information modeling and programming to simulation, digital representation, augmented and virtual reality, digital fabrication and physical computation. The contributions include experts' academic and practical experiences and findings in research and advanced applications, covering the fields of architecture, engineering, design and mathematics.
What are the conditions, constraints and opportunities of this digital revolution for architecture? How do processes change and influence the result? What does it mean for the collaboration and roles of the partners involved. And last but not least: how does academia reflect and shape this development and what does the future hold? Following the sequence of architectural production - from design to fabrication and construction up to the operation of buildings - the book discusses the impact of computational methods and technologies and its consequences for the education of future architects and designers. It offers detailed insights into the processes involved and considers them in the context of our technical, historical, social and cultural environment. Intended mainly for academic researchers, the book is also of interest to master's level students.
Luigi Cocchiarella, architect, PhD, is associate professor at the Milan Polytechnic University, Department of Architecture and Urban Studies, School of Architecture Urban Planning Construction Engineering.
His research and educational interests focus on architectural representation and visual education in relation to the design processes, and particularly on descriptive and projective geometry and their nexus with art, science, techniques, eidomatics.
He is member of the International Society for Geometry and Graphics (ISGG), the World Academy of Art and Science (WAAS), the Unione Italiana Disegno (UID), the Istituto Lombardo Accademia di Scienze e Lettere, and the Istituto di Studi Superiori dell'Insubria "Gerolamo Cardano".
In 2015 he published with Springer the three volumes The Visual Language of Techniques Between Science and Art, inspired by the homonymous cycle of seminars he organized for the 150th anniversary of the Politecnico di Milano.
Marco Hemmerling, architect, is a professor of computational design in architecture at the Cologne University of Applied Sciences and visiting professor at the Milan Polytechnic University. Previously he was a professor at the Detmold School of Architecture and Interior Architecture and director of the post-graduate master's program Computational Design and Construction at the East Westphalia University of Applied Sciences.
He established his Studio for Spatial Design in Cologne after spending several years gaining experience in internationally renowned architectural practices, like the Dutch firm UNStudio, where he was jointly responsible for the design of the Mercedes-Benz Museum in Stuttgart. He studied Architecture and Media Management at the Bauhaus University in Weimar, the Milan Polytechnic University and the Bochum University of Applied Sciences. He is an elected member of the Association of German Architects and the German Association of Craftsmen.


There's a reason they call Scotland one of the world's most remarkable natural playgrounds.
Long, open roads gently weave their way through mile after mile of rich, green fields, flourishing forests filled with flora, fauna and native wildlife, and acres of still waters which glisten in the gentle glow of sun and moon like something straight out of a fairy tale.
From St. Andrews to Prestwick, Gullane and, naturally, the exceptional 18-hole course here in Pitlochry, you rarely have to go far in Scotland without discovering some of the finest golf courses in the world.
So it's no wonder then that, over the years, the country has produced more than its fair share of the sport's biggest heroes.
From the enchanting winter landscapes to the sun-kissed vistas that steal the hearts of visitors throughout the summer, Scotland serves as a haven for romantic getaways right the year round.
Yet when it comes to planning the perfect break for you and your beloved, you need a lot more than the norm. Sure, flowers, candle-lit dinners and cosy nights in might be fine for some, but for the two of you, romance means enjoying experiences that are a true reflection of your unique tastes and personalities.
Summer is finally here, bringing it with it the perfect chance to head outdoors for that perfect getaway.
Yet let's be honest, we all have our own ideas of what that perfect getaway actually entails.
From the historic Scottish Open to the prestigious European Championships, Scotland's wealth of world-class golf courses have long served as the ideal setting for some of the sport's most illustrious competitions.
Year after year, top calibre professionals make their way to the likes of St. Andrews and Dundonald to pit the skills against the best in the game, though that doesn't mean you need to be an elite PGA Pro to compete on one of Scotland's best courses.
A radiant sun sits, bold and alive in the heart of a crisp, clear blue sky, it's soft rays bathing dramatic, breathtaking vistas in a brilliant, peaceful light, it's warm glow dancing lightly on your skin.
There really is no better time to experience the true beauty of Highland Scotland than the summer months.
From the acres upon acres of lush, green forests and the calm, deep-blue waters of nearby lochs to the wild, untamed wilderness of the moors and striking mountains which dominate the landscape, every scene looks just that little more spectacular once the sun finally comes out to play.
This summer, valiant warriors from across the country will descend upon Highland Scotland to tackle one of the year's most gruelling challenges, an epic adventure through the hills and valleys known as the Martin Currie Rob Roy Challenge.
Following in the footsteps of legendary outlaw Rob Roy McCalister, hundreds of brave souls battle through miles upon miles of Scotland's toughest courses, and here at the Dunalastair Hotel Suites, we've put together the perfect reward for anyone taking part in this year's event.
Standing tall and proud at 1,083 m (3,553 ft), the mighty Schiehallion Mountain dominates the Highland Skyline here in picturesque Perthshire, it's formidable size and striking features lending a certain sense of the majestic to otherwise tranquil surroundings.
This bold and brilliant beauty, combined with a fascinating botanical, geological and archaeological make-up have made the Schiehallion one of the Highland's most popular mountains.
It almost felt like it would never get here, didn't it? After a long and terrible winter that simply refused to end, summer seemed like it was taking a break of its own this year.
A year on since we first opened our doors and invited guests from far and wide to experience world-class luxury with a charm and hospitality that is uniquely Scottish.
The grand reopening came on the back of a successful multi-million pound renovation project, transforming this historic venue into one of the leading modern hotels in Scotland.


john-users - p3.16xlarge AWS instance with 8 x Tesla V100 cards.
Subject: p3.16xlarge AWS instance with 8 x Tesla V100 cards.
instance which contains 8 x Tesla V100 cards.
| GPU  Name        Persistence-M| Bus-Id        Disp.A | Volatile Uncorr.


text:
Cubans in El Salvador express dismay for victims in their country
San Salvador, Aug 20 (Prensa Latina) Cubans living in El Salvador joined the expressions of grief in the tribute of their people to the firefighters who died in the accident at the Supertanqueros in Matanzas base.
A statement from the Association of Cuban Residents in this Central American nation, which was transmitted to the Cuban ambassador here, René Ceballo, paid tribute to the 14 firefighters who offered their lives trying to contain the terrible fire in Matanzas.
The pain caused by this tragedy, which is added to others that have occurred in Cuba lately, is very great, Pedro Hernández Piedra, member of the Association's board of directors said, who joined "in that pain, and I also sympathize with the suffering of my people due to the complex economic crisis aggravated by the pressure of the United States".
"Any crisis brings out the best and the worst in people, and each one leans more to one side. José Martí used to say: "Men go in two sides: those who love and found, and those who hate and undo", the note pointed out.
Of those who love, there are many. They are those who join in the pain of tragedies like these, those who maintain and practice solidarity as a living value, those who feel on their skin the injustices committed anywhere in the world. I dare to say that the majority of the Cuban people are still in that camp, Hernández stressed.
pgh/arm/rgh/lb
#condolences #Cuba #EL SALVADOR #victims
Death toll and injured increase after Türkiye-Syria earthquakes


text:
Q: Finding gaps in records I have a Oracle table that have placard numbers, timestamps and direction, either IN or OUT.
Sometimes, the readers fail, and there are gaps,
For the same placard number I should have:
Placard   Timestamp     Direction
2533      15:36         IN
2533      15:41         OUT

But sometimes, I get either:
Placard   Timestamp     Direction
2533      15:36         IN
2533      15:41         IN
2533      15:49         OUT

Meaning the OUT read of the first IN failed, or
Placard   Timestamp     Direction
2533      15:36         IN
2533      15:41         OUT
2533      15:52         OUT

Meaning the IN read of the second pass, failed.
To fill the gaps, I'll simply insert a record to the result with either +1 minute if is a missing OUT, or -1 minute if is a missing IN, and I'll add a fourth field indicating if is a normal, or error record. For example, the intended output would be:
Placard   Timestamp     Direction   Status
2533      15:36         IN          OK
2533      15:41         OUT         OK
2533      15:51         IN          Error IN
2533      15:52         OUT         OK
2533      15:36         IN          OK
2533      15:37         OUT         Error OUT

I hope I explained myself correctly.
I can't provide any SQL, since I have no idea how to do it. Thank you very much for your help.

A: You need to use analytic function, but also you need union to create new rows. Please take a look at this, i tried to put all posibilities in the test data:
with t(Placard   ,ts  ,Direction   ,Status) as (
select 2533   ,   to_timestamp('15:36','hh24:mi')   ,      'IN'      ,    'OK' from dual union all
select 2533   ,   to_timestamp('15:41','hh24:mi')   ,     'IN'     ,    'OK' from dual union all
select 2533   ,   to_timestamp('15:49','hh24:mi')   ,     'OUT'     ,    'OK' from dual UNION ALL
select 2533   ,   to_timestamp('15:55','hh24:mi')   ,     'OUT'     ,    'OK' from dual UNION ALL
select 2533   ,   to_timestamp('16:00','hh24:mi')   ,     'IN'     ,    'OK' from dual)
--test data

(SELECT PLACARD,TO_CHAR(CASE WHEN (DIRECTION = 'IN') THEN TS+INTERVAL '1' MINUTE ELSE TS_NEXT-INTERVAL '1' minute end,'HH24:MI') TS,
CASE WHEN DIRECTION = 'IN' THEN 'OUT' ELSE 'IN' END DIRECTION,
'ERROR '||CASE WHEN DIRECTION = 'IN' THEN 'OUT' ELSE 'IN' END STATUS
 FROM
(select t1.*,lead(TS) over(order by TS) TS_NEXT,
case when (lead(t1.direction) over(order by TS) = direction) or
(direction = 'IN' AND lead(t1.direction) over(order by TS) IS NULL) then 'Y' else 'N' end WRONG from t t1)
WHERE WRONG = 'Y')
UNION ALL SELECT PLACARD,TO_CHAR(TS,'HH24:MI'),DIRECTION,STATUS FROM T
ORDER BY TS;

Output:
   PLACARD TS    DIRECTION STATUS
---------- ----- --------- ---------
      2533 15:36 IN        OK
      2533 15:37 OUT       ERROR OUT
      2533 15:41 IN        OK
      2533 15:49 OUT       OK
      2533 15:54 IN        ERROR IN
      2533 15:55 OUT       OK
      2533 16:00 IN        OK
      2533 16:01 OUT       ERROR OUT

8 rows selected.

A: You need to identify pairs of IN/OUT values, some of which may be missing. Creating an extra row in the result set isn't simple (at least without hitting the table twice, as Aramillo shows); you can use lead and lag to discover that a row isn't there, but creating it is a different matter.
One approach is to use lead and lag to compress the data you do have into in/out pairs, which would leave you with gaps for the missing values, fill in those gaps, and then expand it again. With slightly modified starting data:
select placard, timestamp, direction
from t42 order by placard, timestamp;

   PLACARD TIMESTAMP DIRECTION
---------- --------- ---------
      2533 15:36     IN
      2533 15:41     OUT
      2533 15:52     OUT
      2533 15:56     IN
      2533 16:02     IN
      2533 16:07     OUT
      2533 16:10     IN

You can peak behind and ahead:
select placard, timestamp, direction,
  lag(direction) over (partition by placard order by timestamp) as last_dir,
  lead(direction) over (partition by placard order by timestamp) as next_dir,
  lag(timestamp) over (partition by placard order by timestamp) as last_ts,
  lead(timestamp) over (partition by placard order by timestamp) as next_ts
from t42;

   PLACARD TIMESTAMP DIRECTION LAST_DIR NEXT_DIR LAST_TS NEXT_TS
---------- --------- --------- -------- -------- ------- -------
      2533 15:36     IN                 OUT              15:41
      2533 15:41     OUT       IN       OUT      15:36   15:52
      2533 15:52     OUT       OUT      IN       15:41   15:56
      2533 15:56     IN        OUT      IN       15:52   16:02
      2533 16:02     IN        IN       OUT      15:56   16:07
      2533 16:07     OUT       IN       IN       16:02   16:10
      2533 16:10     IN        OUT               16:07

and use case statements as a kind of manual pivot:
with t as (
  ...
)
select placard, timestamp, direction,
  case when direction = 'IN' then timestamp
    when last_dir is null or last_dir = 'OUT'
    then timestamp - interval '1' minute
    else last_ts end as in_ts,
  case when direction = 'OUT' then timestamp
    when next_dir is null or next_dir = 'IN'
    then timestamp + interval '1' minute
    else next_ts end as out_ts,
  case when direction = 'OUT' and (last_dir is null or last_dir = 'OUT')
    then 'Error IN' else 'OK' end as in_error,
  case when direction = 'IN' and (next_dir is null or next_dir = 'IN')
    then 'Error OUT' else 'OK' end as out_error
from t
order by placard, timestamp;

   PLACARD TIMESTAMP DIRECTION IN_TS OUT_TS IN_ERROR OUT_ERROR
---------- --------- --------- ----- ------ -------- ---------
      2533 15:36     IN        15:36 15:41  OK       OK
      2533 15:41     OUT       15:36 15:41  OK       OK
      2533 15:52     OUT       15:51 15:52  Error IN OK
      2533 15:56     IN        15:56 15:57  OK       Error OUT
      2533 16:02     IN        16:02 16:07  OK       OK
      2533 16:07     OUT       16:02 16:07  OK       OK
      2533 16:10     IN        16:10 16:11  OK       Error OUT

which now has duplicates for the pairs where you originally had both values, and one-minute-adjusted values for those where you didn't; losing the original direction and timestamp rows you can get down to the core pairs:
with t as (
  ...
)
select distinct placard,
  case when direction = 'IN' then timestamp
    when last_dir is null or last_dir = 'OUT'
    then timestamp - interval '1' minute
    else last_ts end as in_ts,
  case when direction = 'OUT' then timestamp
    when next_dir is null or next_dir = 'IN'
    then timestamp + interval '1' minute
    else next_ts end as out_ts,
  case when direction = 'OUT' and (last_dir is null or last_dir = 'OUT')
    then 'Error IN' else 'OK' end as in_error,
  case when direction = 'IN' and (next_dir is null or next_dir = 'IN')
    then 'Error OUT' else 'OK' end as out_error
from t
order by placard, in_ts;

   PLACARD IN_TS OUT_TS IN_ERROR OUT_ERROR
---------- ----- ------ -------- ---------
      2533 15:36 15:41  OK       OK
      2533 15:51 15:52  Error IN OK
      2533 15:56 15:57  OK       Error OUT
      2533 16:02 16:07  OK       OK
      2533 16:10 16:11  OK       Error OUT

And then finally you can unpivot that back to separate rows for the in and out records:
with t as (
  ...
)
select * from (
  select distinct placard,
    case when direction = 'IN' then timestamp
      when last_dir is null or last_dir = 'OUT'
      then timestamp - interval '1' minute
      else last_ts end as in_ts,
    case when direction = 'OUT' then timestamp
      when next_dir is null or next_dir = 'IN'
      then timestamp + interval '1' minute
      else next_ts end as out_ts,
    case when direction = 'OUT' and (last_dir is null or last_dir = 'OUT')
      then 'Error IN' else 'OK' end as in_error,
    case when direction = 'IN' and (next_dir is null or next_dir = 'IN')
      then 'Error OUT' else 'OK' end as out_error
  from t
)
unpivot ((timestamp, error) for direction in
  ((in_ts, in_error) as 'IN', (out_ts, out_error) as 'OUT'))
order by placard, timestamp;

   PLACARD DIRECTION TIMESTAMP ERROR
---------- --------- --------- ---------
      2533 IN        15:36     OK
      2533 OUT       15:41     OK
      2533 IN        15:51     Error IN
      2533 OUT       15:52     OK
      2533 IN        15:56     OK
      2533 OUT       15:57     Error OUT
      2533 IN        16:02     OK
      2533 OUT       16:07     OK
      2533 IN        16:10     OK
      2533 OUT       16:11     Error OUT

SQL Fiddle demo, including a second placard.

redpajama_set_name: RedPajamaStackExchange


On days like these I'm pretty sure I'm allowed to swear. A lot.
I spent a good portion of the day trying to convince half a dozen Telecom Call Centre brats my phone, once again, gets cut off the minute I pick it up. I missed three calls today, and my cotton guy, Adam from DEA Yarns is possibly in Nelson, and he said he might ring me if/when he is. This exact phone problem I have about ever 2 years and, surely, they can see the history on their system. I have to do the same exercise of describing the problem, doing the line check (which involves crawling under Ben's desk and unplugging the main phone line from a jack I can't see but can feel, inviting lots of dust bunnies in my hair), hanging up, waiting for them to call back, etc, etc, etc. every tijme. When I finally found a chap who wanted to help me, we were talking on my cell while I plugged/unplugged lines, and guess what battery went flat? Well, I waited, then rang their Call Centre, but the chap never rang me back. So some time next week, I'll have to repeat the whole exercise. Telecom New Zealand has one of the worst customer services I have ever known in my 50 years in three countries, seriously bad services.
And I was very angry while weaving the second half of the scarf but I had only 400 picks to go when I noticed one of the shafts wasn't lifting. I stopped weaving, checked the shafts and lines, lifted every shaft, one at a time, then in plain weave, and all worked, so I wove on, but Shaft 12 kept on lifting sporadically. I'm not sure if you can see it in this pic, but today was definitely a crawling-under-large-wooden-furniture day.
So I quit. I don't want to abort this piece because other than Shaft 12 in the last, say, 10 cm, it's been going great, and I am so behind. But I don't want to climb up and open the black box or adjust cords, etc., mid-scarf.
So I think I'll swear loudly and stomp around the house looking very cross tonight.
Okay, put down all the point object in the house, breathe in and out in long bouts. Take lime, tequila, ice and salt, drink some and relax, sulk and repeat.
I know I would be more than "very cross".
Hopefully your day will be better tomorrow.
Thanks, ladies. I couldn't sleep last night, and at 3:45AM, I decided when I come home today, I'll unweave/unpick the 10+cm with the fault. Hopefully when I rework that portion, Shaft 12 will lift!
Dee End, LOVE your solutions. I need some tequila. I polished 1/2 package of very chocolaty cookies and I thought I'd get sick.


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The Tesla Inc Model 3 sedan is the most profitable electric car in the automotive industry, according to the head of a top automotive consultant.
Sandy Munro, president of Michigan-based Munro & Associates, said the car generates net profit margins in excess of 30 per cent. Munro, whose firm tore down the Model 3 to better understand it, made his comments on an appearance on Monday on Autoline, an automotive-focused television show.
"The Model 3 is profitable, so I have to eat crow. I didn't think it would happen this way," he said on Monday. "No electric car is getting 30 per cent net, nobody." Munro could not be reached by Reuters for comment on Tuesday.
Tesla, whose shares were up 1.7 per ncent at USD 315.42 in Tuesday morning trading on the Nasdaq, is pushing to increase production of the Model 3, which starts at USD 35,000 and is key to the electric carmaker's profitability. The company has been burning through cash to produce the Model 3.


text:
— японский гимнаст, призёр Олимпийских игр.

Акира Коно родился в 1929 году префектуре Эхиме.

В 1956 году на Олимпийских играх в Мельбурне Акира Коно завоевал серебряную медаль в составе команды.

Ссылки

Гимнасты Японии
Серебряные призёры летних Олимпийских игр 1956 года
Гимнасты на летних Олимпийских играх 1956 года

redpajama_set_name: RedPajamaWikipedia


text:
A conjecture: pi changes with time
By Gustafson, S, February 14, 2007 in Speculations
Gustafson, S 10
Steven C. Gustafson, 14 February 2007
The following is conjectured:
The measured value of pi changes with time. At the big bang it was 2, but now it is very slightly smaller than the calculated value of 3.14159... . The current measured value of pi, if it could be measured accurately enough, would be found to be smaller than the calculated value by about one part in 10 to the 121st power.
The difference in the measured and calculated values of pi will be indicated by a significant change in the randomness of the digits of the calculated value of pi before and after about the 121st decimal place. Thus determining randomness will constitute measurement, and the significant change will be robust in that it will be found using digits generated in various bases and using various measures of randomness.
A Justification is as follows
As indicated in reference 1 and its citations, at the big bang the universe can be modeled on the surface of a sphere of approximately the Planck radius r = (hG/cE3)E1/2 = 4.05 10E-35 meters (where r is obtained by eliminating m from mcE2 = GmE2/r and mcr = h). The smallest circle that could have been drawn on the surface of this sphere would have had a radius of r, and since the diameter of this circle must have been measured along the surface of the sphere, the measured diameter would have been half of the measured circumference, and thus the measured value of pi would have been 2. Any method of measuring pi (e.g., summing the angles of a triangle drawn on the surface of the sphere) would have produced this value of pi.
Currently the universe can be modeled on the surface of a sphere of radius R = 13.7 10E9 light years, but the smallest circle that can be drawn on the surface of a sphere of this radius still has the Plank radius (see reference 1 and its citations). Thus the diameter of this circle, which again must be measured along the surface of the sphere, is very slightly curved and is therefore longer than it would be in a flat or Euclidian space (i. e., a space in which the radius of the universe is infinite). Accordingly, the measured value of pi, which is the ratio of measured circumference to measured diameter, is very slightly less than the calculated value, which is currently known to more than a trillion decimal places. Again, any method of measuring pi, including summing the angles of a triangle, using Buffon's needle, etc., would yield a value of pi slightly less than 3.14159… . As is easily shown (see reference 3) this line of reasoning leads to a measured value of pi that is smaller than the calculated value by about one part in 10 to the 121st power, which is three times the square of the ratio of R to r.
The calculated value of pi found using any of many possible formulas is of course accurate to the calculated number of decimal digits, binary bits, etc. However, the calculation may be considered to be a measurement of pi in that the sequence of digits or bits obtained has a degree of randomness which is not predetermined. Thus it is conjectured that the degree of randomness of about the first 121 decimal digits (or about the first 404 binary bits) is significantly different than the degree of randomness of the following digits (or bits). The degree of randomness might be quantified using various metrics, including the approximate entropy considered in reference 2, where this metric was used to determine, for example, that the digits of √2 are more random than the digits of e. If the change in the degree of randomness is sufficiently sharp, then the digit or bit (or digit or bit region) at which the change occurs might be used to specify a more accurate value for the radius or age of the universe.
1. A. Ashtekar, T. Pawlowski, P. Singh, "Quantum Nature of the Big Bang", Physical Review Letters, vol. 96, pp. 1413011- 1413014, 14 April 2006.
2. S. Pincus and R. E. Kalman, "Not all (possibly) "random" sequences are created equal", Proc. Nat. Acad. Sci., vol. 94, pp. 3513 – 3518, April 1997.
3. S. C. Gustafson, "The Planck radius, the randomness of pi, and the age of the universe", http://www.scienceforums.net, 28 May 2006.
[Tycho?] 12
Is it just me, or did that last paragraph take this post from interesting to nonsensical?
The statements of the first two paragraphs at least are backed up by some reasoning. But the 3rd paragraph just seems to come out of nowhere. Why are some of the digits more random than others? Why is it to 121 decimal digits yet 404 to binary digits?
Interesting either way, I await the comentary of people who know more geometry than I.
The third paragraph is intended to be entirely rational. It states, AS A CONJECTURE, that digits before a precision of about one part in 10 to the 121st power in a listing of calcualted digits of pi will be found to have a different degree of randomness than the following digits. It also states that this conjecture can be tested using various metrics for the degree of randomness (a particular entrpy-based metric is suggesed as an example), and it indicates that pi can be expressed in any base, where base 10 or base 2 would be common choices. In base 10 a precision of one part in 10 to the 121st power corresponds to the 121st decimal place, whereas in base 2 (binary) this precision corresponds to the 404 binary digit (i.e., more binary than decimal digits are needed to express a given precision).
YT2095 595
true, you do need 4 binary bits to represent 0 to 9.
m4rc 12
More evidence of a variable value for pi
The value of pi is clearly increasing with time. In biblical times, the value of pi was 3.
1 Kings 7:23 (New International Version)
He made the Sea of cast metal, circular in shape, measuring ten cubits from rim to rim and five cubits high. It took a line of thirty cubits to measure around it.
If the circumference was 30 cubits and the diameter was 10 cubits, then pi was 3.
Ok I see what you're saying now. ( I initially took your post as a joke, sorry about that)
In curved space, a curved diameter will be longer than a straight diameter in flat space. So depending on the radius of curvature of space, the ratio of the circumference to the curved diameter will be somewhere between 2 and our currently accepted value for pi.
the tree 222
Still, it demonstrates a misunderstanding of what pi is. It is essentially calculated in a completely fictional universe. Usually it's worked out as if all we were dealing with were a flat plane, but the same number works out to have the same properties in whatever model we come up with, be it based on reality or not.
I think what Gustafson is trying to say is that the Universe's proportion of diameter to circumference changes, which I suppose it does, or at least I see no reason why it shouldn't. This doesn't mean that pi itself changes, but it is quite interesting.
the bit I can`t get my head around is the "Degree of randomness"?
what is that meant to mean?
Random is Random, you can`t have More random, random just IS or it is NOT, there`s no "Degrees".
D H 1371
;323690']Is it just me' date=' or did that last paragraph take this post from interesting to nonsensical?
The statements of the first two paragraphs at least are backed up by some reasoning.[/quote']
Interesting? The whole thing starts with this ludricrous lack of reasoning:
The measured value of pi changes with time.
Pi is not a measured quantity. It is a mathematical invention.
Tree almost had it right:
Still, it demonstrates a misunderstanding of what pi is. It is essentially calculated in a completely fictional universe.
This article demonstrates a complete misunderstanding of what pi is.
erm... Deja vous!
http://www.scienceforums.net/forum/showthread.php?t=21110
timo 577
Yes. See reference #3 above.
Gaaah, so much for my mega fantastic Detective work:-p
anyway, that makes it all more (how shall we say..) Not very Good, if you have to cite yourself as a reference!
If space is curved (which WMAP measurments indicate it may be) then the ratio of diam to circumference is DIFFERENT for differentsize circles.
Ned Wright who worked on both COBE and WMAP and is a worldclass cosmologist just came out with a paper where he gives a "best fit" case and in that paper the best fit universe has overall aveage positive curvature and the bestfit radius of curvature is 130 billion LY.
From our point of view that is such a large radius of curvature that for all practical, we can consider space to be flat. And for all practical, the value of pi is exactly correct.
However mathematically speaking pi is only correct for small circles and as you make the circle larger and larger the ratio of circumf to diameter deviates from ideal ratio.
In Ned Wright best fit universe, with its very slight positive curvature, a very very big circle has a circumference which is not quite as big as one expects.
and a very very big triangle the sum of the angles is slightly more than 180.
Some readers might like to have a look at the Ned Wright paper
http://arxiv.org/abs/astro-ph/0701584
Constraints on Dark Energy from Supernovae, Gamma Ray Bursts, Acoustic Oscillations, Nucleosynthesis and Large Scale Structure and the Hubble constant
Edward L. Wright (UCLA)
17 pages Latex with 8 Postscript figure files. One new Table, one new Figure, and several new references added. Submitted to the ApJ
"The luminosity distance vs. redshift law is now measured using supernovae and gamma ray bursts, and the angular size distance is measured at the surface of last scattering by the CMB and at z = 0.35 by baryon acoustic oscillations. In this paper this data is fit to models for the equation of state with w = -1, w = const, and w(z) = w_0+w_a(1-a). The last model is poorly constrained by the distance data, leading to unphysical solutions where the dark energy dominates at early times unless the large scale structure and acoustic scale constraints are modified to allow for early time dark energy effects. A flat LambdaCDM model is consistent with all the data."
Note that the flat LambdaCDM model (which is mainly what cosmologists use these days) is CONSISTENT with the data (within uncertainty bounds) but the flat model as it happens is not the BEST fit. One should know about the best fit but one should not necessarily believe either way because more work to be done narrowing down the uncertainty.
Look at page15 where he says
The best fit model is slightly closed with
Omega_tot = 1.011 ...
The best fit flat LambdaCDM model has less than one more unit of chi-square
than the best fit non-flat LambdaCDM model so there is no evidence for spatial curvature from these fits.
what he is saying is that flat is worse, but it is worse by LESS THAN ONE CHI-SQUARE, so therefore it is NOT STATISTICALLY SIGNIFICANT that the bestfit has positive spatial curvature.
Also be careful about the word "closed". It does not mean universe expects a big crunch. In modern cosmo models a closed universe can expand forever. Closed just refers to spatial closure. A spatially closed positive spatial curvature universe is like a sphere but in higher dimension (so called 3-sphere).
That is the thing which has radius of curvature 130 billion LY and it is space at this moment in time, however the 3sphere is expanding and as far as anyone knows will keep on doing so.
The flat LambdaCDM model, by contrast, has space being infinite. It is more simple to calculate with and generally preferred by the pros at present.
Thanks to all of you for your comments on my "A CONJECTURE: PI CHANGES WITH TIME". I completely agree with comments to the effect that pi is a mathematical construct and not a measured quantity. Some less philosophical observations are as follows.
1. The conjecture is not idle---it can be verified by computer experiments. These experiments would be similar to experiments which used an approximate entropy metric for randomness to verify that the digits of √2 are more random than the digits of e (reference: S. Pincus and R. E. Kalman, "Not all (possibly) 'random' sequences are created equal", Proc. Nat. Acad. Sci., vol. 94, pp. 3513 – 3518, April, 1997). However, the conjecture-verifying experiments should be conducted by persons more familiar with Matlab, Mathematica, etc., than I am.
2. Here is an initial recipe for the computer experiments. Find the randomness of the sequence of the digits of pi from digit 1 to digit n and from digit n + 1 to digit 2n using approximate entropy, find the fractional change in randomness, repeat for n = 2, …, 242, and plot the fractional change in randomness versus n. Examine the plot for changes in level, slope, curvature, etc., near n = 121. Generate plots using other measures of randomness and using pi expressed in other bases to characterize the changes (if any). Note that if changes in randomness are found for many measures of randomness and for many bases and if they can be interpolated to the same fractional digit location (e.g., n = 121.327), then a more accurate value for the radius of the universe (currently estimated at 13.7 billion light years) might be proposed.
3. Is anyone out there interested in performing the conjecture-verifying experiments?
All this reminds me of a dilbert cartoon
http://weblogs.asp.net/mhawley/archive/2004/10/25/247203.aspx


text:
from text.numbers import normalize_numbers

def test_normalize_numbers():
  assert normalize_numbers('1') == 'one'
  assert normalize_numbers('15') == 'fifteen'
  assert normalize_numbers('24') == 'twenty-four'
  assert normalize_numbers('100') == 'one hundred'
  assert normalize_numbers('101') == 'one hundred one'
  assert normalize_numbers('456') == 'four hundred fifty-six'
  assert normalize_numbers('1000') == 'one thousand'
  assert normalize_numbers('1800') == 'eighteen hundred'
  assert normalize_numbers('2,000') == 'two thousand'
  assert normalize_numbers('3000') == 'three thousand'
  assert normalize_numbers('18000') == 'eighteen thousand'
  assert normalize_numbers('24,000') == 'twenty-four thousand'
  assert normalize_numbers('124,001') == 'one hundred twenty-four thousand one'
  assert normalize_numbers('6.4 sec') == 'six point four sec'

def test_normalize_ordinals():
  assert normalize_numbers('1st') == 'first'
  assert normalize_numbers('2nd') == 'second'
  assert normalize_numbers('9th') == 'ninth'
  assert normalize_numbers('243rd place') == 'two hundred and forty-third place'

def test_normalize_dates():
  assert normalize_numbers('1400') == 'fourteen hundred'
  assert normalize_numbers('1901') == 'nineteen oh one'
  assert normalize_numbers('1999') == 'nineteen ninety-nine'
  assert normalize_numbers('2000') == 'two thousand'
  assert normalize_numbers('2004') == 'two thousand four'
  assert normalize_numbers('2010') == 'twenty ten'
  assert normalize_numbers('2012') == 'twenty twelve'
  assert normalize_numbers('2025') == 'twenty twenty-five'
  assert normalize_numbers('September 11, 2001') == 'September eleven, two thousand one'
  assert normalize_numbers('July 26, 1984.') == 'July twenty-six, nineteen eighty-four.'

def test_normalize_money():
  assert normalize_numbers('$0.00') == 'zero dollars'
  assert normalize_numbers('$1') == 'one dollar'
  assert normalize_numbers('$10') == 'ten dollars'
  assert normalize_numbers('$.01') == 'one cent'
  assert normalize_numbers('$0.25') == 'twenty-five cents'
  assert normalize_numbers('$5.00') == 'five dollars'
  assert normalize_numbers('$5.01') == 'five dollars, one cent'
  assert normalize_numbers('$135.99.') == 'one hundred thirty-five dollars, ninety-nine cents.'
  assert normalize_numbers('$40,000') == 'forty thousand dollars'
  assert normalize_numbers('for £2500!') == 'for twenty-five hundred pounds!'

redpajama_set_name: RedPajamaGithub


Limited edition palladium print. This print is limited to a total of 36 palladium prints and 3 artist proofs on sekishu torinoko gampi.
I was driving west bound on the Lincoln Highway in southern Pennsylvania when I caught the glimpse of an old fire truck. The truck was sitting off the side of the road in front of a salvage yard. The fire truck turned out to be a visual bust. I was just about to head back to my truck when a local wearing a pair of greasy overalls approached me. For the sake of the story I'll call him Buck. His puzzled look told the story. I explained that I was in search of urban decay to photograph. He twisted his head to the side and motioned me to follow him. We came to the back of a rusted shack he called the office. Behind the metal shack stood the most glorious old broken down bus that I had ever laid my eyes on. The bus was the holy grail of urban decay.
Of course just plucking my camera in front of the bus would have been far too easy. The sun was hitting the opposite side of the bus. That problem was solved as Buck dangled a shiny set of keys. He again motioned me to follow him to the side of the shack. He then proceeded to climb up on a 14 foot tall articulating front end loader. Fate was kind to me that day. The front loader was equipped with a set of extra long forks. Buck fired up the front loader, picked the bus up off the ground and spun it 180 degrees facing the sun. He was even kind enough to set the bus at the perfect distance from my camera. I snagged a shot while Buck fired up a rather odd looking hand rolled cigarette. There was even a funny smell in the air from that cigarette. The shot was rather straightforward as I burned two sheets of 8x20 sheet film.
Buck picked the bus back up and put it right back to the original spot. We headed back to the metal shack as he proceeded to ask me questions about the camera, why I was so interested in the bus and life in general. I sensed the opportunity, so I asked Buck about the spare tire poking out from the side of the bus. He explained that the bus had taken a tumble when it rolled sideways a few times. The rest of the story is best left to your imagination as to why the bus rolled. The driver was the only one present when the bus took a tumble. Even the drive managed to escape being seriously injured when the bus rolled.
I shot this image with an 8x20 view camera on Bergger 200 sheet film.


text:
Q: Does IdentityServer4 have API to validate an access token? I have an Identity Server which is built by using IdentityServer4.
I have 2 applications (1 .NET, 1 PHP) accessing resource each other and using this Identity Server to validate access token in request header.
In Identity Server application I add a client config as below
clients.Add(
            new Client
            {
                ClientId = "myClientId",
                ClientName = "My Client Name",
                ClientSecrets = new List<Secret>
                {
                    new Secret("secret".Sha256())
                },
                AllowedGrantTypes = GrantTypes.ClientCredentials,
                AllowedScopes = new List<string>
                {
                    "php.es.api"
                }
            });

From .NET application I can get access token easily by calling method RequestClientCredentialsAsync with scope "php.es.api". Then add this bearer token and send request to PHP API.
The problem is I don't know whether IdentityServer4 has API so that PHP application can call it to authenticate the access token. I google and don't find any document mentions about this API.
Do I have to write new API in Identity Server application for PHP or other applications not .NET to validate token?
.NET application access resource from PHP application as below.

A: There is a standard endpoint for this called the introspection endpoint and it is supported by IdentityServer4. Your best bet is to find an oauth client in PHP that does this. If you are using self-contained bearer tokens you can validate tokens without the need for back-channel communication because the bearer tokens are signed by your provider and your provider has its keys listed in the discovery document required to validate the tokens (/.well-known/openid-configuration). I am not too familiar with PHP to point you in the right direction as to what cool libraries there might be out there


text:
Home › Uncensored: Samizdat Novels and the Quest for Autonomy in Soviet Dissidence (Northwestern University Press Studies in Russian Literature and Theory)
Uncensored: Samizdat Novels and the Quest for Autonomy in Soviet Dissidence (Northwestern University Press Studies in Russian Literature and Theory)
Author: Ann Komaromi
Used - $145.66 USD New - Sold Out
Vasilii Aksenov, Andrei Bitov, and Venedikt Erofeev were among the most acclaimed authors of samizdat, the literature that was self-published in the former Soviet Union in order to evade censorship and prosecution. In Uncensored, Ann Komaromi uses their work to argue for a far more sophisticated understanding of the phenomenon of samizdat, showing how the material circumstances of its creation and dissemination exercised a profound influence on the very idea of dissidence, reconfiguring the relationship between author and reader. Using archival research to fully illustrate samizdats social and historical context, Komaromi arrives at a more nuanced theoretical position that breaks down the opposition between the autonomous work of art and direct political engagement. The similarities between samizdat and digital culture have particular relevance for contemporary discourses of dissident subjectivity.
A History of Jews in Albania
Art Since 1900: Modernism, Antimodernism, Postmodernism (Vol. 2: 1945 To The Present)
3000 Degrees: The True Story Of A Deadly Fire And The Men Who Fought It
The Norton Anthology Of American Literature, Vol. B


text:
The Aldrich Contemporary Art Museum
20 34384519 FAX 20 34380198
Three exhibitions
2034384519 FAX 2034380198
Aldrich Museum
Alyson Shotz
Shannon Plumb
The Aldrich Contemporary Art Museum, Ridgefield
Solitude and Focus: featuring the work of thirteen artists who participated in recent residencies at The MacDowell Colony. Alyson Shotz: Light, Sound, Space, a shimmering wall of light consisting of 18,000 plastic oval Fresnel lenses that measures thirty-eight-feet long and over fourteen-feet high. Shannon Plumb: Behind the Curtain, a series of super-8 short films ranging from 3 to 8 minutes, each starring herself dressed as several different characters.
Solitude and Focus: Recent Work by MacDowell Colony Fellows in the Visual Arts
The Aldrich Contemporary Art Museum is pleased to present the exhibition, Solitude and Focus: Recent Work by MacDowell Colony Fellows in the Visual Arts, featuring the work of thirteen artists who participated in recent residencies at The MacDowell Colony. The exhibition will be on view at The Aldrich from January 23 through June 22, 2005. An opening reception will be held on Sunday, January 23, from 4 to 6 pm. Round-trip transportation from NYC is available, please call the Museum at 203.438.4519 for reservations.
Founded in Peterborough, New Hampshire, in 1907, by the American composer Edward MacDowell and his wife, Marian MacDowell, The MacDowell Colony is one of the most revered artist retreats in the US. Each year more than 240 artists, including architects, composers, filmmakers, writers, visual artists, and those working in interdisciplinary genres, come to MacDowell from all over the world to focus on their work in an inspiring environment created to foster the imagination. The Colony's mission remarkably parallels that of The Aldrich in their commitment to supporting new work by visual artists.
Organized by Richard Klein, Aldrich director of exhibitions, the exhibition will represent a cross-section of visual arts disciplines, including photography, painting, drawing, animation, sculpture, printmaking, video, and installation. Participating artists include: John Bisbee, Lynn Cazabon, Neil Goldberg, Mark Greenwold, Bill Jacobson, Joyce Kozloff in collaboration with Judith Solodkin, Sarah Jane Lapp and Mark Dresser, Jane South, Whiting Tennis, Alan Wiener, and Amy Yoes. A new video by New York-based artist Neil Goldberg will provocatively explore the need and motivation to create art. Shot in 2001 while Goldberg was a Fellow at MacDowell, the video pieces together interviews with five other artists who were in residence at the time and will premiere at The Aldrich. Each work chosen for this exhibition will aim to convey a sense of the individual achievement of MacDowell Fellows and their ongoing contribution to America's cultural life. A catalogue will be published in conjunction with the project, including commentary by Klein and participating artists.
The MacDowell Colony nurtures the arts by offering creative individuals of the highest talent an inspiring environment in which to produce enduring works of imagination. Since its inception in 1907, more than 5,500 women and men of exceptional ability have come to the Colony. Situated on 450 acres of woodlands and fields, the Colony has 32 studios, is listed in the National Register of Historic Places, and is a National Historic Landmark. Works of art conceived, developed, and completed during residencies at MacDowell have added immeasurably to our country's cultural life. In 1997, The MacDowell Colony was awarded the National Medal of Arts for "nurturing and inspiring many of this century's finest artists."
Opening Reception: Sunday, January 23, 2005, 4 to 6 pm
Alyson Shotz: Light, Sound, Space
The Aldrich Contemporary Art Museum will present Light, Sound, Space, a solo exhibition of site-specific sculpture by artist Alyson Shotz on view at The Aldrich from January 23 through June 22, 2005. An opening reception will be held on Sunday, January 23, from 4 to 6 pm. Round-trip transportation from NYC is available, please call the Museum at 203.438.4519 for reservations.
In her most ambitious work to date, Shotz created Shape of Space, a shimmering wall of light consisting of 18,000 plastic oval Fresnel lenses that measures thirty-eight-feet long and over fourteen-feet high. Originally created for Rice University's Art Gallery in Houston, the work features thousands of different-size ovals cut from sheets of Fresnel lens plastic by Shotz and a crew of assistants which were then stapled together. Flat on one side and ridged on the opposite side, the Fresnel lens was named for its eighteenth-century inventor Augustin Jean Fresnel (1788–1827), and was originally put to use as a lens for lighthouses in 1822. Shotz's lenses build on the lens's reflective characteristics by imprinting concentric circles of prisms to further bend and refract light, capturing and magnifying its surroundings.
In addition to the indoor work, the outdoor sculpture Mirror Fence will be installed in the Museum's Cornish Family Sculpture Garden. This outdoor work is a 130-foot-long, standard-size picket fence, faced in mirror. Shotz designed the artificial structure to reflect its natural environs, so as to subsequently disappear into its surroundings. Mirror Fence is on view from November 2004 through May 15, 2005 as the third sculpture in the Museum's Main Street Sculpture Project series.
Born in Glendale, Arizona, in 1964, Alyson Shotz received a BFA from Rhode Island School of Design in 1987, and an MFA from University of Washington, Seattle, in 1991. Recent solo exhibitions include Simple Forms (2004) at Ingalls & Associates Fine Arts, Miami; Alyson Shotz: A Slight Magnification of Altered Things (2003) at The Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY; and Alyson Shotz (2003) at Derek Eller Gallery, New York. Group exhibitions include Yard: an Exhibition about the Private Landscape that Surrounds Domestic Architecture (2003) at Socrates Sculpture Park, Queens, NY; Larger Than Life: Women Artists Making it Big (2003) at Susquehanna Art Museum, Harrisburg, PA; and Mirror Mirror (2002) at Massachusetts Museum of Contemporary Art (MASS MoCA) North Adams. In 2004, Shotz received a New York Foundation for the Arts Artist Fellowship in Painting and a Marie Walsh Sharpe Foundation Fellowship. Shotz lives and works in Brooklyn.
A gallery talk by the artist will take place on Sunday, January 23 at 3 pm. For more information, click here.
Shannon Plumb: Behind the Curtain
The Aldrich Contemporary Art Museum will present a series of super-8 short films by the artist Shannon Plumb in a solo exhibition opening at the Museum on January 23. The exhibition will be on view through June 22, 2005, in the Sound Gallery. An opening reception will be held on Sunday, January 23, from 4 to 6 pm. Round-trip transportation is available from NYC, please call the Museum at 203.438.4519 for reservations.
Shannon Plumb produces super-8 short films ranging from 3 to 8 minutes, each starring herself dressed as several different characters. Described as witty self-portraits, Plumb's films remind us of Cindy Sherman's self-transformative powers, mixed with the expert pantomime of Charlie Chaplin. Plumb grew up watching the Hollywood classics: Groucho Marx, Chaplin, Abbott and Costello, Gene Kelly, and Shirley Temple, among others. Her influences stem from a number of cinema genres and periods, from Film Noir, the Western, and the Comedy, to the Peep Show, while reaching into her personal history.
The film Black and White revisits the eponymous format of film and creates a circular dialogue within the history of video art, incorporating and updating previous conventions. Inspired by artists that explore themes of gender and the notion of performance, Plumb integrates personal history into her films, using significant events as inspirations for new characters. She subtly captures a sense of nostalgia through the use of Super-8 film and its inherent scratches and blips. Unplanned events and ambient sounds "off screen" are welcome happenstance for Plumb, and are often incorporated into the scenes. Plumb subverts the medium by presenting a humorous combination of character and self at once. If a wig or moustache falls off in the filming, the viewer is included in the joke. Reality is made fantasy.
In An Elevator Ride, Plumb presents the viewer with a film that replicates security camera closed-circuit TV footage of elevator interiors. For this piece, Plumb plays close to 30 unique characters: a wildly eclectic range of passengers who enter and leave the elevators at differing times. The sense of simultaneous yet random action is reiterated as these images appear on all three monitors of the Video Wall. The public space becomes private; the rider stands alone, devoid of inhibitions, within the elevator. One empty elevator slowly reveals its identity as a set throughout the film, emphasizing Plumb's interest in the deconstruction of larger ideals.
Shannon Plumb has exhibited at Sara Meltzer Gallery, New York, and in such venues as the Lincoln Center Video Festival, the New Museum for Contemporary Art, the Museum of Contemporary Art (Los Angeles), Smack Mellon (Brooklyn) and the Institute of Contemporary Arts (London). Plumb has recently been included in the Lyons, Lake Placid, and Anchorage film festivals. Earlier this year she created a film with Fountainhead Films, Before Z, which was screened at Anthology Film Archives and is available in wide distribution.
258 Main Street Ridgefield
Painting in Four Takes
dal 14/11/2015 al 2/4/2016


text:
Андре Блох (; 14 січня 1873, Віссамбур — 7 серпня 1960, Париж) — французький композитор і музичний педагог.

Закінчив Паризьку консерваторію, учень Жуля Массне, а також Ернеста Гіро і Андре Жедальжа. У 1893 році був вшанований Римською премією за кантату «Антігона». На межі століть виступав як піаніст, в тому числі в 1900—1901 рр. в складі фортеп'янного тріо з Жулем Пеннекеном і Луї Аббіате.

Прижиттєва популярність Блоха пов'язана перш за все з його творами для театру, починаючи з першої опери «Маіда» (, 1909), і аж до опери «Гіньоль» (), яка була завершена в 1939 році і поставлена десять років по тому в паризькій «Опера-комік». До теперішнього часу зберегли значення деякі камерні твори Блоха — зокрема «Деннеріана» для кларнета і фортеп'яно (1940), а також Палестинська сюїта для віолончелі з оркестром (1949).

З 1898 року Блох був професором гармонії в Паризькій консерваторії, надалі також викладав в Американської консерваторії у Фонтенбло і давав численні приватні уроки (серед його учнів, зокрема, Фернан Убраду). У передвоєнні роки популярністю у Франції користувався написаний Блохом шкільний підручник музики «Сто уроків для початкової школи» ().

Примітки

Випускники Паризької консерваторії
Французькі академічні музиканти
Померли в Парижі


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Even though Turkey´s Christian population is barely 0,3%, Aid to the Church in Need (ACN) has supported 100 projects in Turkey in the last twenty years.
A significant amount of Aid to the Church in Need´s help has gone towards Iraqi and Syrian Refugees in the Eastern part of the country. Since 2010 Aid to the Church in Need donated a total of €130.000,- to the Iraqi refugees, mainly via the Chaldean Church and the Salesian Fathers in Istanbul. The Salesians look after families and are particularly concerned to ensure that the children continue to receive a school education.
Aid to the Church in Need has also helped Syrian refugees in Eastern Turkey, since the Crisis in Syria began. From 2013 to 2014 Aid to the Church in Need has donated a total of €47.000,- towards their needs.
Other types of help to Turkey include the support of the Christian TV studio "SAT 7", and the printing of the book by the German Jesuit and Islam expert, W. Troll S.J. "Müslümanlarsoruyor" "(Muslims ask, Christians answer") – an interreligious dialogue based on answering the questions on the Christian faith most frequently asked by Muslims. Aid to the Church in Need also supported the installing of an internet homepage "Answers to Islam", covering the same topic as the book.
Another example of a publication project is the translation and printing of 3.000 copies of the ACN´s Little Catechism, "I believe" in Turkish. Aid to the Church in Need also helped the Pauline Sisters to print a Catechism for children in the Turkish language.
Repairing Church property, mainly churches and convents, has been an important part of our help both in the past and today. Among these projects are several construction projects for the convent of the Daughters of Charity in Istanbul. Another example is the restoration of the historical church Santa Maria Kilisesi, Izmir, Smyrna (near Turkey´s Aegean coast) – one of the oldest churches to have withstood the destructions, and today cared for by Franciscan friars.
Finally, Aid to the Church in Need supports the work of different female congregations, e.g. a water borehole and an elevator in favour of the Little Sisters of the Poor, Istanbul (Fransiz Fakirhanesi), whose presence in Turkey goes back 120 years. The Sisters run an old peoples' home and have also cared for refugees.


Bank of the St. Vincent and the Grenadines Barrouallie Football Championship Results.
Gilmore Nicholls scored twice and Jomo Toppin once as Combined Youths beat Unlimited Strikers 3-nil yesterday in the Bank of the St. Vincent and the Grenadines Barrouallie Football Championship at the Keartons Playing Field. This afternoon, Buccament Executors and Hill View will meet from a quarter past four also at the Keartons Playing Field.
Simple Trouble defeated Parkside Rollers 2-1 yesterday in the Bank of the St. Vincent and the Grenadines Barrouallie Football Championship at the Keartons Playing Field. Today's match will be between Predators FC of Fitz Hughes and Emerald Stars from 4:15 pm also at the Keartons Playing Field.


• Enjoy 3 building opportunities with this LEGO® Creator 3in1 set. Build the Dune Buggy and then rebuild for aerial action aboard a fast Plane, or take on rugged terrain with a tough Quad Bike.
• The Dune Buggy features a colorful, sporty design with chunky tires, front spot lamps, visible rear-mounted engine with air intake, large rear spoiler and exhaust, and a detailed cockpit with a red driving seat, steering wheel and opening roll cage.
• Check out the Dune Buggy's sporty blue, white and yellow color scheme.
• Race and tumble over the terrain with the cool Dune Buggy!
• Dune Buggy measures over 2" (7cm) high, 5" (13cm) long and 3" (8cm) wide.
• Plane measures over 2" (6cm) high, 5" (13cm) long and 5" (14cm) wide.
• Quad Bike measures over 1" (5cm) high, 3" (8cm) long and 2" (6cm) wide.