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The Gospel According to Falcone – God Willing
Home > News > 10/28 Press Conference featuring "God Willing" from Competition Section
2016.04.01 [Updates]
The 29th Tokyo International Film Festival official website is now OPEN!
Tadanobu ASANO wins Best Supporting Actor Award and Kirin KIKI receives Lifetime Achievement Award at the 10th Asian Film Awards
Main Cast and Details of Omnibus Film Production Asian Three-Fold Mirror 2016 Revealed
Website Maintenance Finished
Announcement of Website Maintenance
10th Asian Film Awards Hong Kong action choreographer-director YUEN Wo-ping and Venerable Japanese Actress KIKI Kirin To Receive Lifetime Achievement Award
Film submissions for the 29th Tokyo International Film Festival will start on this official site from the end of April, 2016.
Japanese Films and Talents Receive 18 Nominations For the 10th Asian Film Awards
10th Asian Film Awards Nominations to be Live Streamed February 3, 16:30-18:00 (JST)
Dates set for 29th Tokyo International Film Festival:October 25 – November 3, 2016
2015.11.13 [Interviews]
Director Bryan Singer says of unanimous Grand Prix winner "Nise -The Heart of Madness" 'the perfect film'
Director General Yasushi Shiina harbors ambition- "further development to a linchpin for delivering Japanese films to the rest of the world"
2015.11.12 [Event Reports]
Tokyo Grand Prix director R. Berliner happy: "got the feeling that I was dealing with something special"
Brazilian film "Nise" crowned at the 28th Tokyo International Film Festival!
Suzu Hirose, Kiki Kirin and others express joy for receiving TIFF "ARIGATO" award
28th Tokyo International Film Festival Audience Award goes to Italian comedy "God Willing"
'Roukli' director and staff- unravel project from intent to interpretation
"Cold of Kalandar" director, cast and producer tell inside story about the film
"The Girl's House" director strikes out on new ground and away from comedy
Yoshikazu Yasuhiko chose voice actor for young Char on a "hunch"- "The young Shuichi Ikeda was Mayumi Tanaka"
[Event Reports]
10/28 Press Conference featuring "God Willing" from Competition Section
©2015 TIFF
God Willing is a gentle and touching comedy set in contemporary Rome. The story revolves around Tommaso (Marco Giallini) a successful heart surgeon, who's lost touch with his own heart. His wife despairs about having lost direction in life, drowning her sorrows in alcohol. His daughter, a bit of a bimbo, fails to impress Tommaso in the least. But at least his son shows promise, which is until he reveals that he wants to join the priesthood – something that Tommaso cannot abide by. An unlikely friendship develops between Tommaso and Don Pietro (Alessandro Gassmann), a charismatic priest that changes his attitude toward life and family. Director Edoardo Maria Falcone came to the Tokyo International Film Festival with God Willing. It is in the Competition section.
As Falcone sat under the glare of the spotlight during the press conference, he commented, "This is our second screening. And the first screening was very successful, so I'm really happy. And I was really surprised by the lighting because it's so bright. And maybe I'm thinking that this brightness is because of God."
When asked how he felt about the film's premiere in Japan, he said, "To be honest, Italians are really noisy, loud people, compared to the Japanese audience that was watching the film very quietly, so that made me feel that they might not like the film. But afterwards they told me that the film was really good and I'm very happy to hear that. But, compared to Italians, Japanese seem to be very polite."
In the son's bedroom, there are a lot of the things one sees in your average boy's room, including a model of Godzilla. When asked about it, Falcone responded, "It really wasn't chosen by me. It was chosen by the props people. And when I saw the scene afterwards I was wondering why that thing was there, but I now understand that it was there because of this purpose and I think that it proves that everything has a reason.
[Spoiler] As the film ends, an unexpected tragedy occurs. Don Pietro gets hit by truck and ends up in the hospital. We know he is gravely injured, but never find out if his operation is successful or not.
Falcone explained, "I leave it up to the audience to imagine whether he died or not – and I don't give a resolution myself to the ending. The reason why I keep it open is kind of related to the title – if God wills it. So, whether he dies or not is a secondary thing and it's not really that important. What's more important is what led up to that point – how Tommaso has went through a transformation. I think that's more important. So, I leave to the audience to come up with their own resolution."
When queried if he thought of any alternate endings he said, "I wasn't thinking of making it into a happy ending from the beginning. And that's partially because a lot of comedies in Italy have happy endings. I didn't want to make a film like that. Also, I was thinking of a different ending where the priest dies. But if I made it end like that, I thought the sadness would win and the story would change too much.
When asked what his motivations were for making God Willing, he explained, "I was originally a screenplay writer and with this project I was asked to become a director for the first time. With this first film I was told I could do anything I wanted. I wanted to make a film about the spiritual world and religion. Because this is a theme that really wasn't depicted in films before and I have a personal interest. This contrast between science and religion is not something that has popped up recently. I mean, it's always been a big dilemma. In addition to that, the people who are depicted on screen, there are people who are saying some very democratic things, but instead they might have particular views about other people. So I wanted to criticize that a little bit too."
Ever ready with a quip or to add some levity, Falcone, a seasoned comedy screenplay writer revealed a bit about his future, now that God Willing had met with some success in Italy and now in Tokyo.
He revealed, "I'm working on my new film right now, because this film was received quite well. I'm feeling a lot of pressure. I'm feeling responsibility. But if the next film doesn't work out, I'll come back to Japan for a vacation."
[Nicholas Vroman]

redpajama_set_name: RedPajamaCommonCrawl


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Like a house that need to be equipped and maintained to make it a home, outdoors should also be installed with right type of amnesties to make it look appealing. There is no point in having a lawn around your home if it is not well kept.
Here is good news for people of Melbourne. It is not going to be as expensive as it is expected to do your lawn look absolutely fantastic! It would be lovely to have natural greenery in your outdoors, but having a mix of natural and fake material will enhance the look and it would be easier to maintain items such as good synthetic grass as opposed to natural ones. For all your outdoor furnishing and decoration items you can contact the one leading supplier who will have a solution to all your requirements. Moreover, their products are displayed online so that the customers can view them peacefully and shortlist items. Always there is help available online to chat about any products that catches your eyes.
They not only display their products to get customers, but have highlighted the pros and cons of installing those items in your indoor or outdoor premises and recommend ways to maintain the items in a cost effective manner.It is always best if we can put our efforts to create a lovely ambience to the place where we live and around it. But at the present busy world; most of us are left with limited time and energy to invest in this area and it is advisable to put up something that gives immediate results. The supplier has well thought about all these obstacles people face and have come up with solutions and one of their creative services is turf installation Melbourne, which is an easy to maintain process. They are available for any kind of guidance or physical assistance one may need in installing these items in your outdoor premises.
Then comes the outdoor furniture which will add essence to the lawn. Egg chairs, different types of swings, garden tables and chairs, gazebo type pavilions, wheels, outdoor – indoor wheel tables and chairs, outdoor timber huts, outdoor dining sets and many other products which facilitates and evening outdoor event or simply an away time from the busy life for a cup of tea. These items make the place ideal for an evening BBQ in the autumn months with cool breeze and moonlight. Be it a jolly-full gathering with your friends or a romantic evening with your better half or even a simple family gathering on a weekend – a perfect outdoor solution is waiting for you!


Jobs that run with a frequency of a certain number of hours. Not commonly used for file system jobs, they are know more for application backup jobs such as SQL transaction logs.
Backup job runs once per day. These are used for frequent jobs, such as an incremental you want to run everyday. They are also commonly used for more critical application backup jobs, such as a SQL database that you want a full backup of every day.
Backup job runs once per week. This job is typically on the same day each week, and are commonly used to run larger backups. An example would be running a Full backup every Saturday.
Full Backup A backup of the entire selected criteria, regardless of last backup date. This could be an entire set of servers, a selection of disks, Applications, or maybe certain files/folders.This is normally performed less frequently as it is generally the most intensive type. To restore data from this backup, you would simply need the one backup instance.
Incremental Backup A backup of data that has changed since the last backup ran (notice last backup, not last full backup). These are generally performed when the rate of data change is moderate and the need to keep each backup as small as possible (either for backup size, time or both) and wouldn't mind it taking a bit longer to recover data. A full restore would require the last designated Full backup plus all Incremental backups that have occurred up to the loss.
I've been discussing the topic of "what's involved with being a backup admin" and was encouraged to write up an unofficial "guide". This is NOT intended to be an end to end how-to setup your backup environment, but what would normally be common knowledge to those in the role of a Backup Admin.
I may (and probably will) make recommendations or generalizations. Just remember, this is what has worked for me in my environments and my opinions. Ultimately you must review your requirements and tailor any solution to meet your needs. I'm committing myself to write up this multi-part post to further share the knowledge I've accumulated in the hopes of preventing someone else's headaches.
I will try to stay as vendor neutral as I can so this information will be usable by a wider audience.
Ok, so I'm backing up using VMware APIs for Data Protection (VADP) - now which transport mode do I use?
Okay, so you just pulled your shiny "Backup Product X" out of the shrink wrap or extracted the ISO to your system. You've installed the software onto your backup server and begin to configure a VMware backup job. You get to the part where it asks for your transport method.
What's this? SAN? NBD? NBDSSL? HotAdd? Appliance?
Why don't they speak English (or your local language of choice)?
Easy there. Let's take a step back and lower the printer. You're not in Office Space.
When could/should/would I use Guest level (agent based) backups?


As a child I looked forward to trips to Fargo, North Dakota and spending time with my grandparents. Sometimes these trips were with my parents and siblings and sometimes I got to go solo. My parents had many friends who had left Fargo for Minneapolis. For us children our mom and dad could send us to Fargo with another family who were going to there for their own family visit.
My Grandmother Erickson was a staunch Scandinavian Lutheran. She was a first generation immigrant and survived living on the North Dakota prairie with a large family on a small homesteaded farm. She was raised finding solace in hymns, Bible scriptures and lessons from the Bible. She taught me hymns from the Lutheran Hymnal, Bible quotes, and recounted stories with a moral lesson as a child. This was part of baking pies, swishing dishes in her big kitchen farm style sink filled with soapy water while watching her boil quart jars for canning fruit. She was no-nonsense and strident. Being attentive was my way of feeling close to her. I can honestly say that my grandmother's interpretation of Lutheranism did not stick to me, however memorizing Psalm 23 did.
In this climate of political change the phrase "Lead me to still waters" keeps coming into my consciousness. I cannot turn on the TV, read Facebook postings from friends, or engage in face-to-face conversations with friends without feeling despondent and wondering how to find those still waters. The still waters I visualize are waters that flow very slowly and calmly; bringing much peace and rest to my spirit. One of the most relaxing things in life is the sound of a bubbling brook or flowing stream of water… it is something that brings me to a place of calm, where I can focus without any distractions. I did not understand that interpretation as a child but the phrase did stick.
Today I seek those still waters and I have watched myself find them. I have come to realize that without intentionality my "still waters" takes a number of metaphors in my life. My sketchbook is a place where I can find calm and focus without distraction. I realize that when I open a page my mind will quiet and my hand holding a drawing tool will put my focus to something that brings peace and rest to my spirit. I draw not to create a masterpiece or something to frame and exhibit but to find a sense of peace.
As I move through the days and months ahead the phrase "Lead me to still waters" will help me awake each day with the feeling of balance. My still waters might be in my sketchbook, a donation to a non-profit under siege, or hands-on work with a group of like-minded organizations that need volunteers. I know that journey for still waters will "restore my soul." In today's word of political mayhem and Facebook posts I do not always see the goodness of people. In still waters I can, and then discern how I want to proceed.
That was the lesson from my grandmother's kitchen.
This week, working with a team on an upcoming teacher workshop, we got into a conversation about "Studio Habits of Mind." I won't go into the conversation but to note that it got me thinking about my own studio habits of mind when I work in the studio.
Engage and Persist: learning to embrace problems of relevance within the art world and/or of personal importance, to develop focus conducive to working and persevering at tasks.
Envision: learning to picture mentally what cannot be directly observed and imagine possible next steps in making a piece.
Observe: learning to attend to visual contexts more closely than ordinary "looking" requires and thereby to see things that otherwise might not be seen.
Reflect: learning to think and talk with others about an aspect of one's work or working process and earning to judge one's own work and working process and the work of others.
Stretch and Explore: learning to reach beyond one's capacities, to explore playfully without a preconceived plan and to embrace the opportunity to learn from mistakes.
Understand Arts Community: learning to interact as an artist with other artists and within the broader society.
Habits are efficient- Once a habit is in place, artists and those in any creative engagement become more effective. The action that has now become a habit is smooth, elegant and energy efficient. Artists or others who are creatively engaged in a task and have developed efficient habits have become more of an effective creator.
Habits are authentic- Habits tend to grow from positive impulses. When we develop a habit, the behavior associated with our habit is in tune with our inner condition. Our external habits are an eloquent self-portrait of who we are, of our creative idiosyncrasies.
Habits change us- Habits can be transformative. If we think of a habit not as enacting a status quo, but rather as an outward expression that matches our inner condition, the habit is in sync with our self understanding.
Habits support us- Habits keep us in balance. When learning or engagement gets tough, habits become part of our tools or a repertoire of ways to proceed.
Source: Studio Thinking: The Real Benefits of Visual Arts Education, Hetland, Winner, et al, Teachers College Press, 2007.
I have been taking a drawing class that has reminded me again about the importance of process. The most important rule for guiding children's art activities is that the process is always more important than the product. This is true for adults as well. Process includes the space to explore art materials with freedom and without pressure. Process includes the freedom to experiment and enjoy the feeling of creating without being concerned with the outcome or the product. Process ends with creating something that is uniquely mine and not a copy of someone else's.
Process is best when it is scaffolded. Scaffolding is breaking up learning into chunks and then providing a tool or structure with each chunk. This week the process I have been exploring is the making of marks which is basic to drawing. Our first step was to explore possibilities through doodles.
Doodling is simply the most playful, freeform type of drawing that exists. For the pure pleasure of drawing, doodling holds no boundaries and no rules. Sketchbooks provide the ideal venue for collections of scribbles, scratches, notes and ideas; all of which embody the spirit of the doodle. I was able to allow my subconscious mind to take over by filling a sketchbook page with my own dots, dashes, and scribbles.
The second day was drawing objects that had texture and using marks to interpret the texture. The third day we used dots, dashes, points and scribbles to create solid shapes out of thin air. Using a folded stack of laundry the task was to follow a pattern across the shirt shape and describe it with marks, rather then outlining each piece of the pattern.
By now I was getting weary of dots, dashes, and scribbles but willing to continue the week. Day four was thinking about how more formal patterns work in a design. The goal was to create patterns from magazine clippings. I had enough time to find six clippings and interpreted them in color.
The culmination of the week was to take a field trip. I went to the Minnesota Zoo and found a nice corner that appealed to me in the Tropical Walk. I was feeling confident with the number of marks I had been working with all week. Not only had I expanded my vocabulary of marks but I had the opportunity to have seen the marks of others in the class. Using all of my materials, I created a drawing of the tropical area of the zoo only with marks-no line.
Drawing book author Mona Brooks writes about drawing being both a means of communication as well as a problem-solving tool. Through drawing I can see what I am thinking and also play around and transform my ideas. Drawing is part of a learning process rather than a learning product.
It was a week of exploring and learning. Can't wait to see what I learn from process next week!
How students learn was always fascinating to witness in the classroom. It was an engaging and motivating question when planning curriculum or problem solving a student's lack of engagement in content. The question was a linchpin for 30+ years in the classroom.
I realized that the guiding principles for learning were as important for the classroom as for today with my own learning. I realize I need to use these principles as I continue to learn in the studio or learning in various art related endeavors such as selling work or having a website.
Principle #1 Learners at the Center. For adult learners we need to remember to construct our learning through our engagement and personally driven and active exploration. The workshops I take, the self-regulated on-line class, reading, and my own field trips to museums keep me motivated and excited to keep learning. I know I am most engaged when I "mix it up" with how I learn. However, what I need to remember is to set goals for my active exploration and share and monitor those goals. This is more difficult for me.
Principle #2 Learning is Social in Nature. Neuroscience confirms that we learn through social interaction. I learn so much more when I paint in a community because cooperative learning (a term used in the classroom) also pushes me to take more risks and to learn from other participants. I learn best with cooperative or collaborative learning mixed with the solitude of the studio. There is a lot of wisdom in a community of artists.
Principle #3 Emotions are Integral to Learning. Emotions, motivation, and cognition are intertwined in learning. One of the strongest determinant to artistic learning is the nasty inner critic! The most destructive role that my inner critic plays is beating down my motivation to try something new, to continue to complete a drawing or a painting as not being "good enough." In order to learn deeply I need to replace the inner critic to positive beliefs. When I accept what is not in my nature, rather than being distracted by all I think I could be or should be, then all my inner resources are free to transform me into the artist-self I am striving to be.
Principle #4 Recognizing Individual Differences. I need to embrace my own style and not compare my work to others with "I wish I could do that." We are unique. How I learn and how you learn is different. If I try to paint like the workshop instructor I will fail miserably. What is more satisfying and motivating is to take what I learn and modify and adjust the learning to my artistic style. One approach does not fit all. As one teacher stated, "Before we can be what we are meant to be, we must accept what we are not".
Principle #5 Stretching All Learners. Education is learning what you didn't even know you didn't know. Sometimes I need to stretch my learning. I am not a cartoonist, but it was fun to take a cartooning class with all the Anime cartoonists. A new world was explored and it was enlightening! (I left cartooning somewhere around the years of Archie comics.) Will I ever cartoon? Probably not. But, I did interact with a group of artists who I had more in common with than I thought. I learned about the artistic world of cartooning.
Principle #6 Assessment for Learning. In the classroom formative assessment should be substantial, regular, and provide meaningful feedback. As a self-regulated learner I need to reflect for clarity of my expectations for what I am doing and "why." Feedback is critical for me to maintain motivation. This principle is in play right now. I want to have a mentor who can give me meaningful feedback. Workshop instructors I have had do provide some feedback but it is a quick assessment for that moment. I want to find a mentor that can provide feedback about a body of work and over time.
Principle #7 Building Horizontal Connections. In the classroom this is about transferring knowledge from one grade level to the next or one content area to another. When I taught color, psychology and the science of color was also important to understanding color in other content areas. How do musicians use color? Scientifically, how does light affect color? This principle from classroom learning is a little different for adult learners but application of an artistic experience from years ago will often come back to me in a new way in my own work.
An important point concerning these seven principles: They are all important. In the absence of one, effectiveness cannot be maintained with a greater emphasis on another.
This was true in the classroom and as I move ahead in 2017. I will remember to continue my own learning with these principles in my mind.
Your Inner Critic is a Big Jerk: and Other Truths about being Creative.
I just finished reading a fun book about the "inner critic" that plagues us all in different ways. It was written by Danielle Krysa. The illustrations by artist Martha Rich are fun and just in themselves chase away the inner critic with their whimsy. We all have an inner critic. The inner critic surfaces when we draw or paint, entertain a new idea or set a goal that is a push for us. Our inner critic seems to wait for these wonderful moments to intercede with doubts and rationals why we will not be successful. Blah, to the inner critic!
1. Give your inner critic a name. Choose something non-threatening like Gary, Lydia, Sheldon, etc. You might not always get along, but this trick turns that big scary voice in your head into a dude named Gary. Tell Gary to sit down and shut up, because you've got stuff to do.
2. Say Thank You. This sounds easy, but it's difficult. When someone compliments your design, art, writing etc say THANK YOU, instead of responding with an itemized list of flaws! You might have to bite your lip at first, but every time you do this your inner-Gary loses some power. And, as a bonus, it makes you so much more pleasant to talk to.
3. Say it out loud. What does that voice say to you? Mine usually calls me an amateur. Write down the jab that your inner critic uses, and then say it out loud. Like, really loud, and preferably at someone else—a friend, spouse, co-worker. I know that sounds mean, and that's because it is. If it doesn't feel good to scream it at someone else, then why on earth do you scream it at yourself?
4. Write it down. After you yell those mean words, grab a scrap of paper and write them down. Next, flip your paper over and write the positive opposite. For example, mine would start with, "You're an amateur—you have no idea what you're doing", and would become, "Everyone starts out as an amateur—the only way to become an expert is to keep going every single day, which is exactly what I'm going to do." Pin that up on your wall, and repeat this process whenever the I.C. says something mean.
5. STOP MAKING EXCUSES! Every time you make an excuse not to be creative or work on your goal—i.e., you need to get groceries, I will start tomorrow, my house is too messy—your inner critic has the upper hand and is winning.
So I am going to take my excuses, write them on pieces of paper and throw them in the garbage can with the smelly tuna fish can and soggy coffee grounds. I will get out my sketchbook and draw everyday because I love it, finish the half done painting and follow my "thoughts" for what I want to do next. 2017 will be full of days when I just make stuff!!


Fitness Program changed to sustainable weekly reporting via email and new employee fitness program encourages walking.
Bicycle Loan Program ~ 350 bicycles available and typically 100% are check out- program began the fall semester 2006 under campus security in a racquetball court after request from SA. Built Bike Repair/ Shop Fall 2008 staffed by p-t work-study students open 12pm-6pm M-F (Bikes are purchased by University) – primarily used by students – Minor repair offered for students' personal bikes. Each rental includes a helmet and bike lock.
Campus Bike Patrol Program reduces gas burning vehicles on campus – At present, it has seven mounted officers, but the goal in early 2011 is to have at least 3 Officers per shift riding bikes for patrol out of a total of 29 officers (some are being hired). The bikes give us more flexibility to cover areas of the campus that vehicles cannot enter as well as special events when large crowds prohibit the use of cars to traverse the campus.
Green Safety – research is demonstrating that patrolling on bicycle has environmental benefits, as well as effectively increasing safety on campus as bikes can reach areas faster than foot patrol and access areas more efficiently than patrols cars due to limited mobility. The response time going through campus, rather than around the roadways, is significant. Eco-friendly police provide models for sustainability lifestyle and ease of interaction with campus community. All Bike Patrol Officers are required to wear helmets. This decreases carbon footprint, decreases expenses for gas within budget and increases visibility of officers. This patrol was implemented during football games fall 2008.


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Kids love to jump. My students share with me images of flying through the air like a bird, plane, or butterfly and blasting off like rocket ships. They love being air borne and I love that they are experiencing gravity, momentum, and suspension first hand. The lovely Ashley Horn inspired this lesson plan, and I am sure many dance teachers are using most if not all of its components at some point in time in their class. I think the use of language is key is sustaining an interest of its repetition throughout the year.
There are five ways of jumping, this is not dance specific and can apply to any form of movement. In parenthesis I have included one example from dance.
I like to spend time in each class exploring different ways of performing one or all of these types of jumps. I do not teach these movements as specific steps with precise beginning and endings, shapes, or in turnout. We DO describe the take off and landing for all jumps and talk about using demi plié to give ourselves power to propel in the air. We talk about landing softly and quietly; this automatically encourages toe, ball, heel landings, and helps protect their joints. We talk about stretching the feet and knees in the air when appropriate. I remind the dancers to start and finish on a certain number of feet. I often ask dancers to tell me what I need to know about jumping. This gives them an opportunity to review these basic jump "rules" on their own, and gives them ownership of the material.
A jump starts on two feet and lands on two feet. (I demonstrate.) It is sometimes called a "saute". Can you show me how to jump?
"Show me how you can jump forward over your dot. Can you jump backwards? What about side to side?"
"Can you jump in a big shape using your whole body? Can you make a small shape in the air?"
"Can you jump really small so your feet barely leave the ground? Can you jump so high that you spend lots of time in the air?"
"Can you jump and turn?"
"How could you make a straight shape with your arms? Can you make that shape as you jump?"
"How could you make a twisted shape with your arms as you jump?"
"What are some animals that jump in the air? Can you jump like a rabbit? A frog? What would it sound like if an elephant jumped? What would it sound like if a butterfly could jump?"
What are other ways we can jump? Show me.
Sara, would you be willing to share your jump with the class? Sara shows the jump. The whole class tries her jump. Would anyone else like to share their jump with the class? Let's try it together.
I also like to present multiple ways of jumping together as an obstacle course. You can use any variety of props- as long as there are different types of items for different jumps. I try and emphasize ballet vocabulary when we do obstacle courses. Since the dancers have to take turns, using the vocabulary gives them something to focus on and learn while they are waiting for their turn. We will say the French vocabulary as each student performs the jump.
How do you incorporate jumping into class? I would love more ideas on how to work on these skills!
My young dancers want to experience as much "grown up dancing" as possible. I am finding that many dance studios introduce ballet vocabulary much earlier than I think is appropriate. My students discuss ballet with their friends at school and often show me steps their friends have taught them. Sometimes, my students have another dance class at school where very different material is being presented. I want to teach developmentally appropriate material but at the same time keep my students excited and engaged. I find myself searching for material that feels both new, "advanced", and exciting but at the same time is building the strength and pathways my dancers need to be successful.
My students feel proud for knowing and using these words in class. Many of these movements are even done at school in gym class (hop, jump, leap, gallop). However, by using the ballet vocabulary, the students are adding another layer of knowledge, and are approaching the movement with a different mind set. This keeps them excited about practicing hops in our obstacle course instead of saying, "I know how to do that, that's easy!" Stay tuned for more descriptions on how I approach teaching this material! I would love to hear what ballet vocabulary you introduce to young dancers.
Lately I have been thinking about the difference between facilitating a class and teaching a class. I believe that I can have a more lasting impact as an educator if I can learn how to present class in a way that shifts the power into the hands of my students. I want students who feel empowered in their role as a learner as it is my hope that my students will continue to pursue learning and education once they leave my classroom. I am trying to find ways to facilitate their process and help them identify how to approach the material and delve deeper on their own.
In the past, I have taught a movement phrase describing it with set vocabulary, action words, directions, pathways, and tempo. Then, the students would perform the movement. Afterwards, I would share thoughts on what I noticed and address movement that needed extra attention. The students would then theoretically apply that information as they repeated the movement another time.
The past few weeks I have attempted a new approach. I have started by teaching the movement phrase and describing the mechanics and offering different verbal cues just as I have in the past. However, now, after the students have had the opportunity to try the movement, I open the floor up to the class. I ask the dancers to share any thoughts or observations about the movement. This can be questions, statements, or opinions. Instead of sharing what I have noticed, the students are directing the conversation and addressing the learning process themselves. I still contribute to the conversation, but now every student has the opportunity to act as the role of the teacher. I have noticed that this has encouraged curiosity and deeper investigations in each of my students, as well as an eagerness to share their perspective with their classmates.
This also helps the students articulate what they are feeling in their bodies- bridging the body-mind gap. It gives them practice talking about dance, and discovering the language they use. I have learned so much about how my students see movement, what aspects they concentrate on, and what they are thinking when they are dancing. It has given me a window into their thought process, which in return helps me prepare my upcoming classes. I think it also emphasizes that I don't hold all the answers- that movement is a process of trial and error, and finding how to make connections in your body. Since the students know to expect this process, I also feel that they are more invested in what we are doing, knowing that they are responsible for continuing the learning process.
"Would you like to repeat this phrase again or move on?"
"Would you like to go across the floor or do a phrase in the center of the room?"
"What does your body need next?"
Those are two examples of how I am trying to shift the dynamics of my classes with my college students. I'd love to hear your thoughts and ideas on facilitating classes? How do you include your students in the class process?
I have so much I want to share, discuss, and process, and right now I do not feel that I have the community to express these thoughts on a regular basis. I want to get in the habit of writing more as I feel this is a crucial step in my ability to articulate myself as a teaching artist. This blog feels like the best place to accomplish this at this time.
I took modern class with the lovely Jamie Zahradnik today at San Jacinto College, where I also teach modern technique. I teach the students on Monday/Wednesday, and she has them on Tuesday/Thursday. I think it is important for our students to see their faculty at work as a student, and to set an example of learning in action. Jamie helped me solve a problem I've been having as a dancer for a while now. I have always struggled with descending into the floor. I like to use the excuse that it is due to my height, and that I have a lot of body to organize. However, the problem really lies with a lack of grounding and a disconnect between myself and the floor. In class, Jamie taught a phrase that sequenced a sequential linear turn into a monkey roll. I felt my torso trailing behind me as I descended into the floor, and the movement felt disjointed. Yet, even after I adjusted my alignment, the descent into the floor still felt delayed and jarring. So I asked for help. Jamie pointed out that my feet were loosing contact with the floor- instead of sliding and staying connected and grounded, my feet were moving through the air and searching for where to land. The idea of skimming the floor with my feet or sliding into the monkey roll, helped smooth out the hiccups. I now have another cue to use when approaching descending into the floor- finding a slide or chasse action with my feet- skimming the floor rather than stepping out.


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The University of Louisville Cardinal Marching Band is the official marching band of the University of Louisville (UofL) in Louisville, Kentucky. It is considered a Music Ambassador for UofL. The CMB performs at all home football games at Cardinal Stadium, all postseason bowl games, and select away football games. It also plays at the annual Spring Scrimmage Game which pits the Cardinal Offense against the Cardinal Defense.

The CMB is composed of students at the University of Louisville and surrounding Kentuckiana Metroversity institutions. Every member of the CMB receives a scholarship to perform with the ensemble. There are additional awards for the official CMB Bugler and Feature Twirler. The Cardinal Marching Band is a Major Ensemble course at the UofL School of Music and is the official band of the Kentucky Derby in which they are known for its nationally televised performances of My Old Kentucky Home every year.

Overview

During the university's Fall semester, the band rehearses from 4:30pm to 6:30pm on Mondays, Wednesdays, and Fridays. Membership includes the brass and woodwinds, drumline, the feature twirler, colorguard, and drum majors. It is composed of students at the university (music majors and non-music majors alike) as well as select students of other Metroversity colleges that don't have a marching band program of their own. Members receive both a college credit and a scholarship for participation. The band has performed on MTV and has had musical greats join them in performance such as world-renowned trumpeter, Wynton Marsalis. The group was chosen to perform for the Captain's Celebration of the 2008 Ryder Cup at the Valhalla Golf Club. The group has also been featured and/or written about on ESPN, FOX Sports, Good Morning America, ABC World News Tonight with Charlie Gibson, Inside Edition, and ABC's Extreme Makeover: Home Edition.

History

For over 70 years the Cardinal Marching Band has proudly represented the University of Louisville as the most visible ensemble of the School of Music, performing live for over half a million spectators each year. Creating vibrant game day traditions for Cardinal fans is at the core of the CMB, which performs at all home football games, select away games, and all bowl games.

The Cardinal Marching Band has been the "Official Band of the Kentucky Derby" since 1936 and has received national recognition through features on ESPN, ABC World News Tonight, Oprah, Sports Illustrated, Extreme Makeover: Home Edition, and the NFL Network. Additionally, the CMB has performed at 17 bowl games including the Russell Athletic, Sugar, Orange, Liberty, Belk, Beef O'Bradys, Gator, GMAC, Humanitarian, Motor City, Fiesta, Pasadena, and Sun Bowl.

The Cardinal Marching Band was formed in 1928 under the direction of E. J. Wotowa (composer "Hail Purdue!") and started performing at football games in 1933. In 1949, the band traveled to Hattiesburg, Mississippi to perform at the UofL vs. Southern Mississippi football game. It was at this game that the band had to abandon the claim of "Best Dressed Band in Dixie," after it was discovered another band held prior claim to that title. The UofL CMB then adopted the nickname "Marching Cardinals" which was shortened in 2011 to "Marching Cards."

Through the 1950s the CMB was extremely active, dazzling audiences with electrifying halftime shows featuring majorette Hilda Gay Mayberry who was named the most outstanding majorette in the country during the time! The 1960s marked the leadership of Robert B. Griffith, who wrote the fight song, Fight! UofL.

The band's membership gradually declined in the 1960s until their last performance in the fall of 1970. In 1978 Governor Julian Carroll offered to reestablish the Cardinal Marching Band. Since then, the band has grown to be an established part of UofL's school culture. The band has performed at every UofL Football game since 1979 and has been a vital part of the University of Louisville.

In 2011, Amy Acklin was appointed as the Associate Director of Bands & Cardinal Marching Band Director. In 2016, Jason Cumberledge was named Assistant Director of Bands & Assistant Cardinal Marching Band Director. Frederick Speck, Director of Bands, has overseen and provided vision for the program since 1995. Dr. Speck also wrote the arrangement of My Old Kentucky Home which the band plays during the pre-game show.

Every member of the CMB receives a scholarship to perform with the ensemble. There are additional scholarships for the official CMB Bugler and Feature Twirler.

Instruments and sections
 Drum Majors
 Twirlers
 Colorguard
 Flutes / Piccolos
 Clarinets
 Alto and Tenor Saxophones
 Trumpets
 Mellophones
 Trombones
 Baritones
 Sousaphones
 Drumline (Includes Snare line, Tenor line, Bass line, and Cymbal line)

Traditions

 The chanting and playing of the "CARDS" cheer to end every rehearsal. (refer to Track 12 of the band's 2007 Highlights CD, listed below)
 The playing of "Cardinal Circle," written by head director of bands, Dr. Fredrick Speck at the beginning of every rehearsal.
 The President's Tent -- About 45 minutes before a home football game, the band marches to the school president's tent (located just outside the stadium) where many important guests to the school congregate before each game. While there, the band plays few school songs for the enjoyment of those in attendance.
 Call to the Post -- During each pregame show, a solo trumpeter plays Call to the Post into a microphone to be heard throughout the stadium. This is a reference to the city of Louisville's long history with horse racing as the Call to the Post tune is customarily played by a bugler just minutes before a horse race. There is usually a second playing of this, occurring just before the start of the second half of the football game by the same trumpeter that played it during pregame.
 Card March - About 2 hours before every home game, the drumline leads the football team to the stadium gates where the band and colorguard await ready to play a string of school songs.
 The annual Cardinal Marching Band Banquet near the end of the football season in order to celebrate the journey from band camp to the end of the regular season. The banquet includes recognition of all Senior members who are presented a CMB Alumni Pin, announcement of the coveted "Section of the Year" designation, and a slideshow of the year's performances.

Performances

Kentucky Derby Festival

Pegasus Parade
During the Kentucky Derby Festival, the band has two events that it participates in annually. The first of which is the Pegasus Parade, held in downtown Louisville two days before the Kentucky Derby. It is one of the largest parades in the United States. The band marches the parade among all the other floats and attractions while playing fight songs, both representing the University of Louisville and the city of Louisville itself.

Kentucky Derby

The second of these events is the Kentucky Derby itself at historic Churchill Downs. The band routinely plays in between the various races held on Derby day, usually alternating play times with a military band. Its greatest honor every year takes place minutes before the big race—the playing of the Stephen Foster classic "My Old Kentucky Home" near the Derby Winner's Circle for all those in attendance and for those that watch on television. The band first played the song at the Derby in 1936, by which time it was established as the music played while the horses are led to the post parade. It has kept this engagement for all but a few years since then. In 2002, famed trumpeter Wynton Marsalis joined the band for this honor. In 1998, Dr. Frederick A. Speck (the UofL director of bands and a composer in his own right) wrote an arrangement of My Old Kentucky Home that the marching band has since played for this and many other occasions.

The Louisville Orchestra
For years, the UofL Marching Band has carried a relationship with the Louisville Orchestra. The first concert of the Orchestra's season is called Fanfara—held at The Kentucky Center for the Performing Arts in September every year. The marching band is featured as the opening act, usually entering and exiting to a drum cadence but stopping to play The Star-Spangled Banner while on stage. The playing of the American national anthem appropriately kicks off the Orchestra's season of wonderful live music.

KMEA State Marching Championships
Since 2007, when the competition returned to Louisville after a long drought without it, band members have assisted the Kentucky Music Educators Association (KMEA) in hosting the semi-finals and finals of Kentucky State Marching Band Championships at Cardinal Stadium. Band members take on various jobs for the day, from being a band guide to being a press box assistant and more. At the end of the competition, the UofL Drumline (ULD) plays a series of cadences as all of the finalist bands reenter the stadium for the trophy ceremony.

Patrick Henry Hughes

In 2006, trumpeter Patrick Henry Hughes joined the Cardinal Marching Band. Patrick was a young man who had been born without eyes and, furthermore, was reliant on a wheelchair, unable to walk. Patrick would play trumpet while his father (Patrick John Hughes) pushed him in his wheelchair through the marching drills. This visible commitment attracted increasing crowd and media attention throughout the fall football season, and the pair of Patricks were featured in a variety of television and newspaper coverage.

Extreme Makeover: Home Edition
In November 2007, at the suggestion of a member of the CMB, ABC's Extreme Makeover: Home Edition came to Louisville to remake Hughes' family home. As part of a community project that the show routinely does at the suggestion of the recipient of the home makeover, the band's practice field was given a makeover. The show filmed at two CMB rehearsals—one rehearsal on the old field and one rehearsal at the unveiling of the new field. New lights and a new sound system were installed for better practice conditions. Other additions to the new field include a new shed for the storage of both instruments and equipment, a roofed sitting area to escape the sun's heat, and water fountains to hydrate the band members. The new field is fenced off and has a tall gate that displays the name of the field: "Patrick Henry Hughes Field".

Music

CDs

The marching band has released two CD recordings.

In 1991, the UofL Cardinal Marching Band was among the first marching bands to release a recording on CD. Recorded at the Kentucky Center for the Arts in November 1990, the CMB performed charts and percussion features from the landmark 1990–91 football season that culminated with Coach Howard Schnellenberger leading the Cardinals to an historic victory over Alabama in the 1991 Sunkist Fiesta Bowl in Tempe, Ariz.

The second was 2007 Highlights. The CD was engineered and recorded by Christopher Jones and Tim Haertel. It was produced by TNT Productions, Inc.

See also
 UofL Cardinal Bird Mascot
 The University of Louisville Collegiate Chorale
 The University of Louisville Cardinal Singers

References

External links

Atlantic Coast Conference marching bands
Marching Band
Musical groups established in 1928
Musical groups from Louisville, Kentucky
1928 establishments in Kentucky

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When I was nearing the end of my pregnancy with my second child, I was so ready for the baby to be born that I strapped my older daughter in her stroller and pushed her up and down the hills of our neighborhood. My water broke early the next morning and I delivered a healthy, 8-pound baby girl two weeks before her due date.
I might not have taken that walk if I'd known that being born even just two weeks early might have an impact on my child's academic success, as a recent study suggests.
Conducted by researchers at Columbia University Medical Center and New York-Presbyterian Hospital in New York City, the study found that full-term babies born on the later side of the normal gestational period of 37 to 41 weeks performed better on standardized reading and math tests in 3rd grade than their peers who were born earlier. The study was published in the journal Pediatrics.
Researchers analyzed data from more than 128,000 New York City public school kids born between the full-term range in the late 1980s and early 1990s. The scores on standardized tests that students took at age 8 were "significantly lower" for children born at 37 and 38 weeks than for kids born at 39, 40, or 41 weeks, the study abstract says.
However, the New York Daily News described the differences in test scores between the younger and older group of kids as small: 2.3 percent of those born at 37 weeks had "severely poor reading skills" and 1.1 percent had "at least moderate problems in math," compared to 1.8 percent and 0.9 percent respectively for those born at 41 weeks.
Perhaps more significantly, those born at 37 weeks were "a third more likely to have severe reading difficulty in 3rd grade, and had a 19 percent greater chance of having moderate problems in math," the newspaper reported.
Researchers suggested that the results should give pause to women who may schedule Caesarean births for convenience.


Home » Student Services » International Students » Admissions & Records » Why Choose Grossmont College?
Grossmont College enrolls over 600 international students from about 80 different countries.
There is no charge to apply to Grossmont College.
The minimum score for admission to Grossmont College is TOEFL 450 paper-based / 45 internet-based, and IELTS 4.5.
Our international students transfer to many 4-year institutions, including UCSD, UCLA, and UC Berkeley. Grossmont College transfers more students to San Diego State University than any other community college. Grossmont College transfers more international students to UCSD than any other San Diego area community college. Visit our Transfer Center web page for more information on your transfer opportunities.
The Grossmont College faculty are selected for their excellent teaching ability and their dedication to our students. Our classes are small " typically 25-40 students " which allows our teachers to provide individual attention.
Grossmont College is accredited by the Western Association of Schools and Colleges and is a member of the California Community College Association.
The International Student Office is staffed with full-time counselors and specialists to help you with every aspect of your education. We'll help you enroll in the classes that match your English ability and your educational goals.
You can complete the first two years of a Bachelor's degree at Grossmont for a much lower cost than at a 4-year institution.
Our International Student Club schedules many activities throughout the year. Some of our past events include camping in the desert, kayaking in San Diego Bay, and barbeques at the beach.
Questions about admission or immigration requirements can be directed to International Admissions Specialists, below.


The simulated soft angora Smart-Comfort™ pad is a great fit for your Gen7Pets stroller and it easy to clean.
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THE DAILY EAR is the world's most infamous tabloid newspaper with an unparalleled reputation for exposing the private lives of the rich and famous. Feared by celebrities and politicians alike, it has left a trail of shattered lives in its wake.
But reporters have secrets too.
And what better way for Gay superstar Adam Jaymes to reap revenge than to do to the staff at Daily Ear what they've been doing to everyone else for decades?
Exposé is a satirical thriller that takes readers into the murky world of the UK's No1 daily paper, as the shameful secrets of the tabloid's star journalists are exposed for all to see.
Touching on dozens of real-life scandals, the novel will keep you guessing who at the tabloid is next on Jaymes' hit list and what deep, dark secrets he is about to expose.


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The Awesome Update
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TV Roundup 02/11/14 - 08/11/14
Category: TV
Published: Thursday, 13 November 2014 14:45
Written by Blacksmith
"The Blacklist and Gotham standout in a slower week than normal"
The Blacklist S2E6 - "The Scimitar (No. 22)" - Awesome 8/10
The Blacklist – my pick for show of the week – finally got round to giving some interesting character development to newcomer Agent Navabi this week, who practically took centre stage in the villain-of-the-week plot. On a mission headed by both the CIA and Mossad, Navabi assassinates an Iranian nuclear scientist, prompting the Iranians to send their prize operative to the US to capture one of the Americans as a replacement; things get personal, however, when it's revealed that The Scimitar, as he's known, was responsible for the death of her brother. After saying for weeks that it'd be nice to get some development for some of the other/new characters, I was glad to see it finally happen, and in an all round excellent episode to boot.
We saw more development between Liz and Tom, after he was revealed as "#LizziesSecret" last week, with her attempting to get information out of him on Berlin. Liz has taken a much more badass approach to things this season, Tom probably has something to do with this, and it has made her a much more enjoyable character in my opinion. Red had his usual awesome role to play in the take-down of the villain of the week but it was the final scene that was the real game changer; Red revealed that Berlin's daughter – who Berlin believed Red had killed – was alive and was, in fact, Zoe – Called it! - the woman Red has been visiting for the last couple of weeks. A lot of people believed she was Red's daughter because of how it was set up, but this twist was a great direction to take, and one I think will have a dramatic effect on the Berlin plot line.
The Walking Dead S5E3 - "Slabtown" - Kinda Awesome 7/10
Things went in a different, creepy direction this week, as we finally checked back in with Beth after she was kidnapped near the end of last season. She's now with another group, who, against all odds, have managed to maintain some semblance of order. They're lead by Dawn – one of the few that still believes that the human race will return to the way it was one day – a former Officer in the Atlanta PD, who governs with the philosophy that everyone must pay back what they take in order to survive. Oh, and also that it's cool to look the other way when the other officers are raping people. Grim.
Grim indeed. It was great to see Beth make a return, and she got another jolt of character development; more than one often means that the character will stick around for a while, but if there's one thing we've all learnt the hard way, it's that The Walking Dead doesn't play by a rulebook. I also quite like how they're taking an episode here and there that focuses exclusively on one or a few characters, as it helps to break up any monotony and really shine a light on specific people. Like Carol, who we found out has been taken by the very same group that has Beth. This sort of answers the question of "what happened to Carol" from last week, but we need more. More! Also, who the heck was with Daryl at the end of last episode, if it wasn't Carol or Beth!?
Arrow S3E4 - "The Secret Origin of Felicity Smoak" - Kinda Awesome 6/10
Speaking of spotlight character development, Felicity took centre stage in Arrow this week, when her rebellious college days came back to haunt her; she created a "super virus" that could be used to hack, well, anything, and fast forward to present day and it's being used by "Brother Eye" to take control of Starling City. Throw into the mix the first appearance of Felicity's mother and the fact that Brother Eye turned out to be her ex college boyfriend, and you've got some pretty serious development for her character. The episode wasn't quite as fantastic as we've come to expect though, and a big part of that is that Brother Eye was a pretty flat villain. There were some shining moments of awesome sprinkled in there, though, so it was still enjoyable.
Ray Palmer is fast becoming one of the stand out characters in the show; every moment he is on screen is entertaining. The action was also on top form, as Ollie brilliantly took down Brother Eye's automated turrets in the episodes climax and Felicity even got in on it, laying the smack-down on the underwhelming villain. Finally, the episodes closing scene was its major redeeming feature, seemingly revealing that Roy is Sara's killer – something I did not see coming!
Gotham S1E6 - "Penguin's Umbrella" - Awesome 8/10
Jim went on the offensive this week, having no other choice but to try and take down Don Falcone after it was revealed to everyone that Gordon hadn't killed Cobblepot. Despite this news causing an initial split between Jim and Harvey, the two reconciled in hilarious fashion as Harvey turned up at Jim's apartment, drunk and with a hooker called "The Duchess" in tow. It was great to finally see the pair properly bond as a partnership and give us a glimpse of awesome things to come.
Penguin was, as always, brilliant to watch, expertly manipulating Maroni and Fish Mooney into conflict, leading to the deaths of Maroni's henchman, Frankie, and Mooney's lover, Nikolai. As the opening sequence likes to remind us, Penguin can see a war coming, and it's pretty obvious that that's because he's engineering it. We did find out that he's not working completely alone though – he's actually working for Falcone! Also, if all of that isn't enough for you, then Batman villain Victor Zsasz also makes his first appearance on the show as one of Falcone's top henchmen – and he's thoroughly enjoyable.
Constantine S1E2 - "The Devil's Vinyl" - Kinda Awesome 7/10
Constantine thus far has been impressive, albeit not perfect, and I'm finding myself looking forward to seeing how things are going to develop. This weeks episode struggles a little bit with its pacing – it seemed a bit rushed at times – but its core strengths are still there: great tone and visuals, interesting angelic/demonic concepts and a brilliant lead in Matt Ryan's smart-mouthed John Constantine. We also got to see Constantine veteran character Papa Midnite make his first appearance, and it looks like the antagonistic relationship between him and John will be an enjoyable addition to the show.
The plot of the episode had a very occult and mystical feel to it, so much so that even John considered the "Devil's Vinyl" to be a myth. The vinyl contained the last recording of a blues singer who had sold his soul to the Devil; turns out Satan came to collect whilst he was performing, leaving a recording of his voice on the vinyl and now anyone that listens to it is corrupted and/or killed. I love the use of occult elements in this show and feel like it's one of strong points.
Show of the Week: Gotham
Show of the Week: The Blacklist
This has been Deedsy, and this has been Blacksmith, writing for The Awesome Update, over and out.


text:
Q: jquery.form.js with option iframeTarget (works fine for FF, does not work in IE) i need a interface to upload multiple file to a DMS, where i can not modify the Result Page.
I have a solution with jquery.form.js (without using iframeTarget), which works fine for FF but does not work for IE: In IE i got the first file uploaded, but after this, the Page is redirected and the second upload does not work.
I think, the main Problem is, that the Resulting Page does a redirect, which i expect inside the IFrame (for FF) but on the page (for IE).
With Firebug i see, that the result of the Post contains such a redirect, wich is "ignored" by FF and so the following files are uploaded.
To get closer to the Problem it tried to use the option iframeTarget. Now i have a similar issue in FF: By using iframeTarget="#myIFrame" i have this:
in FF:

*

*first file uploaded

*redirct in the IFrame "#myIFrame"

*scirpt stoped (the following files are not uploaded)

in IE:

*

*first file uploaded

*redirect in the whole page (and the followoing fiels are not uploaded)

If i do not use the iframeTarget option, it works again with FF (all Files uploaded without any redirect).
Main issue: how to get it working in IE?
Side Issue: what's the difference for FF by using this option "iframeTarget"? (May be, this points to the solution for IE)
basic code:
    jQuery('#CreateFormUploadNew').submit(function() {

    // submit the form
    //jQuery(this).ajaxSubmit({
    //jQuery('#CreateFormUploadNew').ajaxForm({
    jQuery('#CreateFormUploadNew').ajaxSubmit({

        //iframe: false, //falls false, werden keine Files hochgeladen, true oder weglassen ....
        //clearForm: true, //nicht aktivieren, sonst fehlt der Name bei der suchen nach der ObjId
        //resetForm: true, //nicht aktivieren, sonst fehlt der Name bei der suchen nach der ObjId
        //dataType: 'script',
        iframeTarget: '#myIframe',
        beforeSubmit: function(a,f,o) {
            changeUploadValues(i)
            i++
        },
        success: function(data) {

            jQuery("#uploadFeedback").append("success started<br />");

            //...
            //some additional stuff like setting Meta Data
            //...

            if (i > 1) {
                changeUploadValues(i)
                jQuery('#CreateFormUploadNew').submit();
            }

        } //Success

    });
    // return false to prevent normal browser submit and page navigation

    return false; //ajaxSubmit()
}); //submit

Thomas

redpajama_set_name: RedPajamaStackExchange


text:
import { List } from 'immutable';
import { isExpressionStatement, isLiteralStringExpression } from './terms';
import Term, * as T from 'sweet-spec';
import { freshScope } from './scope';
import Compiler from './compiler';
import { ALL_PHASES } from './syntax';
import { Enforester } from './enforester';
import { processTemplate } from './template-processor';
import ASTDispatcher from './ast-dispatcher';
import ScopeReducer from './scope-reducer';
import { gensym } from './symbol';
import { VarBindingTransform } from './transforms';
import Syntax from './syntax';

export default class TermExpander extends ASTDispatcher {
  constructor(context) {
    super('expand', true);
    this.context = context;
  }

  expand(term) {
    return this.dispatch(term);
  }

  expandRawSyntax(term) {
    return term;
  }

  expandRawDelimiter(term) {
    return term;
  }

  expandTemplateExpression(term) {
    return new T.TemplateExpression({
      tag: term.tag == null ? null : this.expand(term.tag),
      elements: term.elements.toArray(),
    });
  }

  expandBreakStatement(term) {
    return new T.BreakStatement({
      label: term.label ? term.label.val() : null,
    });
  }

  expandDoWhileStatement(term) {
    return new T.DoWhileStatement({
      body: this.expand(term.body),
      test: this.expand(term.test),
    });
  }

  expandWithStatement(term) {
    return new T.WithStatement({
      body: this.expand(term.body),
      object: this.expand(term.object),
    });
  }

  expandDebuggerStatement(term) {
    return term;
  }

  expandContinueStatement(term) {
    return new T.ContinueStatement({
      label: term.label ? term.label.val() : null,
    });
  }

  expandSwitchStatementWithDefault(term) {
    return new T.SwitchStatementWithDefault({
      discriminant: this.expand(term.discriminant),
      preDefaultCases: term.preDefaultCases.map(c => this.expand(c)).toArray(),
      defaultCase: this.expand(term.defaultCase),
      postDefaultCases: term.postDefaultCases
        .map(c => this.expand(c))
        .toArray(),
    });
  }

  expandComputedMemberExpression(term) {
    return new T.ComputedMemberExpression({
      object: this.expand(term.object),
      expression: this.expand(term.expression),
    });
  }

  expandSwitchStatement(term) {
    return new T.SwitchStatement({
      discriminant: this.expand(term.discriminant),
      cases: term.cases.map(c => this.expand(c)).toArray(),
    });
  }

  expandFormalParameters(term) {
    let rest = term.rest == null ? null : this.expand(term.rest);
    return new T.FormalParameters({
      items: term.items.map(i => this.expand(i)),
      rest,
    });
  }

  expandArrowExpressionE(term) {
    return this.doFunctionExpansion(term, 'ArrowExpression');
  }

  expandArrowExpression(term) {
    return this.doFunctionExpansion(term, 'ArrowExpression');
  }

  expandSwitchDefault(term) {
    return new T.SwitchDefault({
      consequent: term.consequent.map(c => this.expand(c)).toArray(),
    });
  }

  expandSwitchCase(term) {
    return new T.SwitchCase({
      test: this.expand(term.test),
      consequent: term.consequent.map(c => this.expand(c)).toArray(),
    });
  }

  expandForInStatement(term) {
    return new T.ForInStatement({
      left: this.expand(term.left),
      right: this.expand(term.right),
      body: this.expand(term.body),
    });
  }

  expandTryCatchStatement(term) {
    return new T.TryCatchStatement({
      body: this.expand(term.body),
      catchClause: this.expand(term.catchClause),
    });
  }

  expandTryFinallyStatement(term) {
    let catchClause =
      term.catchClause == null ? null : this.expand(term.catchClause);
    return new T.TryFinallyStatement({
      body: this.expand(term.body),
      catchClause,
      finalizer: this.expand(term.finalizer),
    });
  }

  expandCatchClause(term) {
    return new T.CatchClause({
      binding: this.expand(term.binding),
      body: this.expand(term.body),
    });
  }

  expandThrowStatement(term) {
    return new T.ThrowStatement({
      expression: this.expand(term.expression),
    });
  }

  expandForOfStatement(term) {
    return new T.ForOfStatement({
      left: this.expand(term.left),
      right: this.expand(term.right),
      body: this.expand(term.body),
    });
  }

  expandBindingIdentifier(term) {
    return term;
  }

  expandAssignmentTargetIdentifier(term) {
    return term;
  }

  expandBindingPropertyIdentifier(term) {
    return term;
  }

  expandAssignmentTargetPropertyIdentifier(term) {
    return term;
  }

  expandBindingPropertyProperty(term) {
    return new T.BindingPropertyProperty({
      name: this.expand(term.name),
      binding: this.expand(term.binding),
    });
  }

  expandAssignmentTargetPropertyProperty(term) {
    return new T.AssignmentTargetPropertyProperty({
      name: this.expand(term.name),
      binding: this.expand(term.binding),
    });
  }

  expandComputedPropertyName(term) {
    return new T.ComputedPropertyName({
      expression: this.expand(term.expression),
    });
  }

  expandObjectBinding(term) {
    return new T.ObjectBinding({
      properties: term.properties.map(t => this.expand(t)).toArray(),
    });
  }

  expandObjectAssignmentTarget(term) {
    return new T.ObjectAssignmentTarget({
      properties: term.properties.map(t => this.expand(t)).toArray(),
    });
  }

  expandArrayBinding(term) {
    let rest = term.rest == null ? null : this.expand(term.rest);
    return new T.ArrayBinding({
      elements: term.elements
        .map(t => (t == null ? null : this.expand(t)))
        .toArray(),
      rest,
    });
  }

  expandArrayAssignmentTarget(term) {
    let rest = term.rest == null ? null : this.expand(term.rest);
    return new T.ArrayAssignmentTarget({
      elements: term.elements
        .map(t => (t == null ? null : this.expand(t)))
        .toArray(),
      rest,
    });
  }

  expandBindingWithDefault(term) {
    return new T.BindingWithDefault({
      binding: this.expand(term.binding),
      init: this.expand(term.init),
    });
  }

  expandAssignmentTargetWithDefault(term) {
    return new T.AssignmentTargetWithDefault({
      binding: this.expand(term.binding),
      init: this.expand(term.init),
    });
  }

  expandShorthandProperty(term) {
    // because hygiene, shorthand properties must turn into DataProperties
    return new T.DataProperty({
      name: new T.StaticPropertyName({
        value: term.name,
      }),
      expression: new T.IdentifierExpression({
        name: term.name,
      }),
    });
  }

  expandForStatement(term) {
    let init = term.init == null ? null : this.expand(term.init);
    let test = term.test == null ? null : this.expand(term.test);
    let update = term.update == null ? null : this.expand(term.update);
    let body = this.expand(term.body);
    return new T.ForStatement({ init, test, update, body });
  }

  expandYieldExpression(term) {
    let expr = term.expression == null ? null : this.expand(term.expression);
    return new T.YieldExpression({
      expression: expr,
    });
  }

  expandYieldGeneratorExpression(term) {
    let expr = term.expression == null ? null : this.expand(term.expression);
    return new T.YieldGeneratorExpression({
      expression: expr,
    });
  }

  expandWhileStatement(term) {
    return new T.WhileStatement({
      test: this.expand(term.test),
      body: this.expand(term.body),
    });
  }

  expandIfStatement(term) {
    let consequent =
      term.consequent == null ? null : this.expand(term.consequent);
    let alternate = term.alternate == null ? null : this.expand(term.alternate);
    return new T.IfStatement({
      test: this.expand(term.test),
      consequent: consequent,
      alternate: alternate,
    });
  }

  expandBlockStatement(term) {
    return new T.BlockStatement({
      block: this.expand(term.block),
    });
  }

  expandBlock(term) {
    let scope = freshScope('block');
    this.context.currentScope.push(scope);
    let compiler = new Compiler(
      this.context.phase,
      this.context.env,
      this.context.store,
      this.context,
    );

    let markedBody, bodyTerm;
    markedBody = term.statements.map(b =>
      b.reduce(
        new ScopeReducer(
          [{ scope, phase: ALL_PHASES, flip: false }],
          this.context.bindings,
        ),
      ),
    );
    bodyTerm = new T.Block({
      statements: compiler.compile(markedBody),
    });
    this.context.currentScope.pop();
    return bodyTerm;
  }

  expandVariableDeclarationStatement(term) {
    return new T.VariableDeclarationStatement({
      declaration: this.expand(term.declaration),
    });
  }
  expandReturnStatement(term) {
    if (term.expression == null) {
      return term;
    }
    return new T.ReturnStatement({
      expression: this.expand(term.expression),
    });
  }

  expandClassDeclaration(term) {
    return new T.ClassDeclaration({
      name: term.name == null ? null : this.expand(term.name),
      super: term.super == null ? null : this.expand(term.super),
      elements: term.elements.map(el => this.expand(el)).toArray(),
    });
  }

  expandClassExpression(term) {
    return new T.ClassExpression({
      name: term.name == null ? null : this.expand(term.name),
      super: term.super == null ? null : this.expand(term.super),
      elements: term.elements.map(el => this.expand(el)).toArray(),
    });
  }

  expandClassElement(term) {
    return new T.ClassElement({
      isStatic: term.isStatic,
      method: this.expand(term.method),
    });
  }

  expandThisExpression(term) {
    return term;
  }

  expandSyntaxTemplate(term) {
    let r = processTemplate(term.template.slice(1, term.template.size - 1));
    let ident = this.context.getTemplateIdentifier();
    this.context.templateMap.set(ident, r.template);
    let name = Syntax.fromIdentifier(
      'syntaxTemplate',
      term.template.first().value,
    );
    let callee = new T.IdentifierExpression({
      name: name,
    });

    let expandedInterps = r.interp.map(i => {
      let enf = new Enforester(i, List(), this.context);
      return this.expand(enf.enforest('expression'));
    });

    let args = List.of(new T.LiteralNumericExpression({ value: ident })).concat(
      expandedInterps,
    );

    return new T.CallExpression({
      callee,
      arguments: args,
    });
  }

  expandStaticMemberExpression(term) {
    return new T.StaticMemberExpression({
      object: this.expand(term.object),
      property: term.property,
    });
  }

  expandStaticMemberAssignmentTarget(term) {
    return new T.StaticMemberAssignmentTarget({
      object: this.expand(term.object),
      property: term.property,
    });
  }

  expandComputedMemberAssignmentTarget(term) {
    return new T.ComputedMemberAssignmentTarget({
      object: this.expand(term.object),
      expression: this.expand(term.expression),
    });
  }

  expandArrayExpression(term) {
    return new T.ArrayExpression({
      elements: term.elements.map(t => (t == null ? t : this.expand(t))),
    });
  }

  expandImport(term) {
    return term;
  }

  expandImportNamespace(term) {
    return term;
  }

  expandExport(term) {
    return new T.Export({
      declaration: this.expand(term.declaration),
    });
  }

  expandExportDefault(term) {
    return new T.ExportDefault({
      body: this.expand(term.body),
    });
  }

  expandExportFrom(term) {
    return term;
  }

  expandExportLocals(term) {
    return term;
  }

  expandExportAllFrom(term) {
    return term;
  }

  expandExportFromSpecifier(term) {
    return term;
  }

  expandExportLocalSpecifier(term) {
    return term;
  }

  expandStaticPropertyName(term) {
    return term;
  }

  expandDataProperty(term) {
    return new T.DataProperty({
      name: this.expand(term.name),
      expression: this.expand(term.expression),
    });
  }

  expandObjectExpression(term) {
    return new T.ObjectExpression({
      properties: term.properties.map(t => this.expand(t)),
    });
  }

  expandVariableDeclarator(term) {
    let init = term.init == null ? null : this.expand(term.init);
    return new T.VariableDeclarator({
      binding: this.expand(term.binding),
      init: init,
    });
  }

  expandVariableDeclaration(term) {
    if (
      term.kind === 'syntax' ||
      term.kind === 'syntaxrec' ||
      term.kind === 'operator'
    ) {
      return term;
    }
    return new T.VariableDeclaration({
      kind: term.kind,
      declarators: term.declarators.map(d => this.expand(d)),
    });
  }

  expandParenthesizedExpression(term) {
    if (term.inner.size === 0) {
      throw new Error('unexpected end of input');
    }
    let enf = new Enforester(term.inner, List(), this.context);
    let lookahead = enf.peek();
    let t = enf.enforestExpression();
    if (t == null || enf.rest.size > 0) {
      if (enf.rest.size === 0) {
        throw enf.createError(')', 'unexpected token');
      }
      throw enf.createError(lookahead, 'unexpected syntax');
    }
    return this.expand(t);
  }

  expandUnaryExpression(term) {
    if (term.operator === 'await') {
      return new T.AwaitExpression({
        expression: this.expand(term.operand),
      });
    }
    return new T.UnaryExpression({
      operator: term.operator,
      operand: this.expand(term.operand),
    });
  }

  expandUpdateExpression(term) {
    return new T.UpdateExpression({
      isPrefix: term.isPrefix,
      operator: term.operator,
      operand: this.expand(term.operand),
    });
  }

  expandBinaryExpression(term) {
    let left = this.expand(term.left);
    let right = this.expand(term.right);
    return new T.BinaryExpression({
      left: left,
      operator: term.operator,
      right: right,
    });
  }

  expandConditionalExpression(term) {
    return new T.ConditionalExpression({
      test: this.expand(term.test),
      consequent: this.expand(term.consequent),
      alternate: this.expand(term.alternate),
    });
  }

  expandNewTargetExpression(term) {
    return term;
  }

  expandNewExpression(term) {
    let callee = this.expand(term.callee);
    let enf = new Enforester(term.arguments, List(), this.context);
    let args = enf.enforestArgumentList().map(arg => this.expand(arg));
    return new T.NewExpression({
      callee,
      arguments: args.toArray(),
    });
  }

  expandSuper(term) {
    return term;
  }

  expandCallExpressionE(term) {
    let callee = this.expand(term.callee);
    let enf = new Enforester(term.arguments, List(), this.context);
    let args = enf.enforestArgumentList().map(arg => this.expand(arg));
    return new T.CallExpression({
      callee: callee,
      arguments: args,
    });
  }

  expandSpreadElement(term) {
    return new T.SpreadElement({
      expression: this.expand(term.expression),
    });
  }

  expandExpressionStatement(term) {
    let child = this.expand(term.expression);
    return new T.ExpressionStatement({
      expression: child,
    });
  }

  expandLabeledStatement(term) {
    return new T.LabeledStatement({
      label: term.label.val(),
      body: this.expand(term.body),
    });
  }

  doFunctionExpansion(term, type) {
    let scope = freshScope('fun');
    let params;
    let self = this;
    if (type !== 'Getter' && type !== 'Setter') {
      // TODO: need to register the parameter bindings again
      params = term.params.reduce(
        new class extends Term.CloneReducer {
          reduceBindingIdentifier(term) {
            let name = term.name.addScope(
              scope,
              self.context.bindings,
              ALL_PHASES,
            );
            let newBinding = gensym(name.val());

            self.context.env.set(
              newBinding.toString(),
              new VarBindingTransform(name),
            );
            self.context.bindings.add(name, {
              binding: newBinding,
              phase: self.context.phase,
              skipDup: true,
            });
            return new T.BindingIdentifier({ name });
          }
        }(),
      );
      params = this.expand(params);
    }
    this.context.currentScope.push(scope);
    let compiler = new Compiler(
      this.context.phase,
      this.context.env,
      this.context.store,
      Object.assign({}, this.context, { allowAwait: term.isAsync }),
    );

    let bodyTerm;
    let scopeReducer = new ScopeReducer(
      [{ scope, phase: ALL_PHASES, flip: false }],
      this.context.bindings,
    );
    if (term.body instanceof Term) {
      // Arrow functions have a single term as their body
      bodyTerm = this.expand(term.body.reduce(scopeReducer));
    } else {
      let compiledBody = compiler.compile(
        term.body.map(b => b.reduce(scopeReducer)),
      );
      const directives = compiledBody
        .takeWhile(
          s =>
            isExpressionStatement(s) && isLiteralStringExpression(s.expression),
        )
        .map(s => new T.Directive({ rawValue: s.expression.value }));
      bodyTerm = new T.FunctionBody({
        directives: directives,
        statements: compiledBody.slice(directives.size),
      });
    }
    this.context.currentScope.pop();

    switch (type) {
      case 'Getter':
        return new T.Getter({
          name: this.expand(term.name),
          body: bodyTerm,
        });
      case 'Setter':
        return new T.Setter({
          name: this.expand(term.name),
          param: term.param,
          body: bodyTerm,
        });
      case 'Method':
        return new T.Method({
          name: term.name,
          isAsync: term.isAsync,
          isGenerator: term.isGenerator,
          params: params,
          body: bodyTerm,
        });
      case 'ArrowExpression':
        return new T.ArrowExpression({
          isAsync: term.isAsync,
          params: params,
          body: bodyTerm,
        });
      case 'FunctionExpression':
        return new T.FunctionExpression({
          name: term.name,
          isAsync: term.isAsync,
          isGenerator: term.isGenerator,
          params: params,
          body: bodyTerm,
        });
      case 'FunctionDeclaration':
        return new T.FunctionDeclaration({
          name: term.name,
          isAsync: term.isAsync,
          isGenerator: term.isGenerator,
          params: params,
          body: bodyTerm,
        });
      default:
        throw new Error(`Unknown function type: ${type}`);
    }
  }

  expandMethod(term) {
    return this.doFunctionExpansion(term, 'Method');
  }

  expandSetter(term) {
    return this.doFunctionExpansion(term, 'Setter');
  }

  expandGetter(term) {
    return this.doFunctionExpansion(term, 'Getter');
  }

  expandFunctionDeclarationE(term) {
    return this.doFunctionExpansion(term, 'FunctionDeclaration');
  }

  expandFunctionExpressionE(term) {
    return this.doFunctionExpansion(term, 'FunctionExpression');
  }

  expandCompoundAssignmentExpression(term) {
    return new T.CompoundAssignmentExpression({
      binding: this.expand(term.binding),
      operator: term.operator,
      expression: this.expand(term.expression),
    });
  }

  expandAssignmentExpression(term) {
    return new T.AssignmentExpression({
      binding: this.expand(term.binding),
      expression: this.expand(term.expression),
    });
  }

  expandEmptyStatement(term) {
    return term;
  }

  expandLiteralBooleanExpression(term) {
    return term;
  }

  expandLiteralNumericExpression(term) {
    return term;
  }
  expandLiteralInfinityExpression(term) {
    return term;
  }

  expandIdentifierExpression(term) {
    let trans = this.context.env.get(term.name.resolve(this.context.phase));
    if (trans && trans.id) {
      return new T.IdentifierExpression({
        name: trans.id,
      });
    }
    return term;
  }

  expandLiteralNullExpression(term) {
    return term;
  }

  expandLiteralStringExpression(term) {
    return term;
  }

  expandLiteralRegExpExpression(term) {
    return term;
  }
}

redpajama_set_name: RedPajamaGithub


The time is evidently right for 'Beat Generation' movies, perhaps as the group's members are all sadly departed.
While feature débuting co-writer/director John Krokidas' film comes a year after Walter Salles' longtime-coming adaptation of Jack Kerouac's On the Road, this is more a kind of 'origins story', the facts of which haunted the Beats ever after. Drawn from both the accepted truth and Kerouac and William Burroughs' suppressed-for-decades novel And the Hippos Were Boiled in Their Tanks (published after their deaths as no one, including them, liked it much), this is mostly seen from the perspective of the young, ;naïve and awkward Allen Ginsberg (Daniel Radcliffe, rather daringly), who leaves an in denial dad (David Cross) and a delusional mum (Jennifer Jason Leigh) to attend Columbia University in 1944. Immediately falling in with the unpredictable Lucien Carr (Dane DeHaan), with whom he becomes (very) close, the pair tear up literary classics, rob the library of 'restricted' titles and get high on Benzedrine with Burroughs (Ben Foster) and, after a while, returning serviceman Kerouac (Jack Huston, also in the similarly bookish Night Train to Lisbon). Also in the picture is David Kammerer (Michael C. Hall, AKA Dexter, in a more vocal performance than we've seen him in ages), who's increasingly obsessed with Carr and will do anything to keep him close, even as his object of affection is trying hard to free himself from anything and everything. Depicting a time just before the end of World War II, a period pre-rock'n'roll and pre-Ginsberg's Howl when the Beats' rebellion was taking shape and establishing how to truly shock The Establishment, Krokidas' film takes a wisely neutral view of the tale, meaning that we get to both revel in the lads' transgressions and see how all this indulgence can turn sour. The performances are fine: Foster (not as grotesque as usual) is a pitch-perfect, drug-addled Burroughs; DeHaan a wonderfully horny and dangerous Carr; Huston a cockily charismatic Kerouac; and Hall, stuck with the most unsympathetic role, manages to make Kammerer far more than some whiny spurned lover. Then there's Radcliffe, so desperate to kill that darling Harry Potter, whose Ginsberg is the film's heart, soul and hormones, and who's very strong, whether he's snogging the librarian, hallucinating wildly in a jazz joint or, ahem, auto-eroticising as he belts out his first poems in a frenzy. Howl indeed.