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text:
New York 1, Tel Aviv 0
Shelly Oria
Enter the world of New York 1, Tel Aviv 0, where the characters are as intelligent and charming as they are lonely. A couple discovers the ability to stop time together; another couple lives with a constant loud beeping in their apartment, though only one of them can hear it. A father leaves his daughter in Israel to pursue a painting career in New York; a sex worker falls in love with the Israeli photographer who studies her.
Together these stories explore the tension between an anonymous, globalized world and an irrepressible lust for connection—they form an intimate document of niche moments between characters who are so brilliantly, subtly, and magically rendered by Shelly Oria's capable hands.
An excerpt from New York 1, Tel Aviv 0
Saturday comes, and Zoë and I go to see Keith Buckley read in Soho. It is April and Manhattan and this is what I think about the air: it is crisp. I keep thinking: Crisp. I fantasize about taking a big bite and chewing the air, making obscenely loud noises as if the air on this island were a gum, or worse: sunflower seeds. While I'm thinking this, Zoë is being beautiful. She says, I'm so happy it's not cold anymore. She's wearing the purple halter top that Ron bought her for our one-year anniversary; I got The Secrets of Mediterranean Cooking because Ron thinks that I should open my own restaurant instead of wasting my talent in somebody else's kitchen. Zoë's halter top ties behind her neck, except every few minutes it gets loose, and I need to tie it again for her. It's too tight, she says every time, tugging on the knot.
At the bookstore, Zoë leads the way to her favorite spot, third row center. Keith isn't here yet, she tells me without even looking around. How do you know? I ask, and she says, I need you to tie me up again, her eyes smiling, teasing. Then she asks, Has he ever read here before? I don't think so, I say, but I get confused between all the stores sometimes. Zoë says, I'm having the worst déjà vu; I feel like this moment already happened. I want to say, maybe it did; I've always felt that the present is just one way of looking at things. But these are thoughts I keep to myself, because I can't afford to lose Zoë. If I lose Zoë, Ron might go with her, and then I'd be completely alone in this city.
Zoë is the kind of person you lose easily: this has happened to many people. She's also the kind of person who will freak out when someone suggests there is more than one reality, then blame that someone for her freak- out. Once, after a Keith Buckley reading in Midtown, we sat on a bench, our backs to Central Park. I had moved from Tel Aviv only a few months earlier; Zoë was explaining how the park had been created in the 1850s. The idea of having a designated area for greenery struck me as odd; Tel Aviv isn't carefully planned like that—trees often choose their own location, and most streets stretch in unpredictable directions, creating a pattern of impulse.
We were waiting for Ron, and it was getting dark. Looking up and down, I noticed how this city, spreading to the sky, makes people smaller and faster. I was having one of my funny moods, when everything feels like a dream. I turned to Zoë and said, What if we're not real? What if we're just imagining this scene, right now, on this bench? Or what if somebody else is imagining us, and we are characters in this person's hallucination? I didn't know Zoë very well yet. I expected her to say I was crazy, or ask what the hell I was talking about. But she started shaking: first her knees, then her arms, then her entire body. She said, Don't fuck with my mind like that. I didn't know what to do. I put my hand on her knee and said, I'm here. Then I said, I'm real. She calmed down, but for the rest of the evening she kept saying, Don't ever fuck with me like that.
So, if you want Zoë to like you, you need to: (1) be a flexible, spontaneous person, because Zoë hates to wait but also hates to plan in advance; (2) love all literary events where Keith Buckley is reading; and (3) learn never to fuck with her mind.
In Israel, this is what you do when you enter a bar, a movie theater, a mall: you open your bag. You let the security guard look through your personal belongings, until he decides you're probably not carrying a bomb. The security guard is almost always a man. Sometimes he'll be thorough, like he knows something you don't; he might even use a metal detector that beeps if the interior of your jacket is explosive. But usually he'll just tap the bottom of the bag and signal with his eyes Go in. If you're a beautiful woman, you're likely to hear some kind of comment that acknowledges your beauty. Then you're free to roam what ever space it is, calm and confident, because in Tel Aviv, if you drink or eat or party enough, even the worst kind of war feels like peace.
When I first moved to New York, I kept opening my purse every time I entered a building, before realizing that there was no security guard. And every time I felt relieved, and every time I felt orphaned, and every time I felt surprised at both; there is a sense of comfort that you get when someone else is in charge of your safety, and I didn't yet know that in America danger is something you can choose to ignore.
Back then, I was subletting a tiny studio in Hell's Kitchen that had only one window. The building had a live-in super with a thick Romanian accent who treated me like his protégée because he was the Veteran Immigrant. My first day in the building, he said, Twelve years I live here now; it is like home. His accent was so thick that it took a few seconds of tossing the sounds in my brain to decipher their message, but I felt comforted. Then, three weeks later, he came over and said, New mall only few blocks from here; very expensive but you should go, look in the windows. I said I would, and I did. At the new Time Warner Center, I was going in as Ron was coming out. I reached to open my purse, and saw him smile, his Israeli radar letting me know I was busted. He seemed familiar, and happy; I stopped. We spent ten minutes trying to figure out where we knew each other from. The army? No, he left before he was eighteen, never served; the Peace Now rally in D.C.? No, I knew nothing about it; after a while, we gave up.
Zoë wants to step outside to smoke. We leave our coats and grab our bags. There is intimacy between us and a wide-shouldered guy with dreadlocks as we are squeezing our way out. Dreadlocks looks up at Zoë's shirt and Zoë says, Keep an eye on our stuff, okay? as if this is our friend and that's the least he can do. Dreadlocks nods; I can see inside his mind, very briefly, and it is full of one word: boobs.
Outside on Crosby Street, optimistic people believe that seats for this event are in abundance, so they just stand there, smoking or chatting. Zoë bums a cigarette from a pale baby- faced guy who looks familiar. I hear her say, No you don't get my number in return, and then a second later, You get . . . my gratitude, and then laughter. They are equidistant from me, but she is louder and I hear only her. Zoë never has cigarettes because she's quit smoking, so she always has to bum from people who haven't quit smoking yet. These people are usually around, though, and always into helping Zoë, so there's no reason to change the MO. Unless you count Ron as a reason; every time he smells cigarettes on Zoë's breath he squints and says, You need to commit to your health, Zoë, not just talk about it.
In Tel Aviv, walking into a bar is like stepping into a cloud. If you spend more than an hour inside the cloud, scent molecules get under your hair and skin, and they often take their time getting out. When you get back from the bar, if you don't want to inhale smoke from the pillow in your sleep, you head straight to the shower and turn the faucet all the way to red until the small room fills with steam. When I'm in Tel Aviv, I usually think, No big deal; then I get back to New York and feel indebted to the non-yellow walls, the guarantee of nicotine- free air once you walk into a room. It is true that in New York when you wash your clothes the water turns gray; you scrub, and inside the bubbles you see soot. But I don't mind it; I know that this urban dirt is the side effect of speed and productivity. I think: New York 1, Tel Aviv 0. It's an ongoing competition, a game that Ron and I invented, but I forget to keep track, so I have to start counting all over again every time.
Zoë is standing across from me smoking fast like she has to go somewhere and the cigarette is holding her back. I say, There's still plenty of time, you know. Zoë says, I might go with this guy for a drink. I give her a look. She says, Nothing serious, and looks away. I say, I think he used to work at the restaurant. Zoë pretends not to hear me, or maybe she really doesn't. Don't worry, I'll be back in time for Keith, she says; he's reading last. I think: As if that's the problem.
Zoë believes that no one understands Keith Buckley's work like she does, and that referring to him by his first name makes this fact clear. The truth is that no one understands Keith Buckley's work, not even Keith Buckley, if you ask me. But if I said that to Zoë—if I said, People laugh and shout and do the voices and download the ringtones because they want to belong; if I said, Zoë, think about it, Keith Buckley the phenomenon has very little to do with Keith Buckley the man— Zoë wouldn't think about it, not even just to pretend. Instead, she'd say, You don't have to go with me to these things, you know, and I would feel like our life is a reality show and I've just been voted off.
Don't tell Ron, Zoë says, putting out her cigarette, her eyes canvassing the sidewalk in search of pale guy. She steps on the butt and pulls me close; I hate the smell of smoking, but mixed with Zoë's breath it's all right. Love you, she says, and then kisses me, her tongue a tiny butterfly tapping mine; then she's gone.
I go back inside and think: What if I went home and took her jacket with me? By the time she came back, our seats would be taken and she'd have to watch Keith standing up, pushed against strangers who were too late. In Zoë's world, that's not an option. Or what if I did tell Ron? Would he confront her? Would things between the three of us change? I put my coat on my lap and tap my fleece-covered knee, because I feel like people can see my thoughts, and my thoughts are horrible. Since I can sometimes see people's thoughts a little bit, it's hard to remember that this is not the norm. Often, when thinking something new in a public place, I feel exposed.
When the reading starts, Dreadlocks turns to me and says, Where's your friend? She'll be back for Keith Buckley, I say. He nods slowly and seems to be saying, I'm glad we had this talk. He raises his right hand, which is holding a plastic cup. You want some coffee? he asks. No thanks, I say. He nods again. Let me know if you change your mind, he says, like there's something very important at stake.
When I see Zoë pushing through backs and arms to reach me, I regret not being invisible. I would pay a lot to see the look in her eyes if she returned and I weren't here, because I can't possibly imagine it. I have a good imagination, but with Zoë, the only way to know things is to see them. A man hisses Bitch as her elbow meets his abdomen, but she doesn't notice. When she sits down she is all excited, and smells of weed. Dreadlocks leans over and whispers, Your friend was very lonely without you. Zoë ignores him. Did you have a good time with the busboy? I ask. He's a bartender now, she says. A few seconds later, she puts her head on my shoulder. This is what I think: Greedy. A woman who can't stay faithful to two people will never know true satisfaction. Greedy, greedy, greedy. But this thought doesn't make me feel better.
Of course, to know Zoë is to know that she can never stay faithful to two people, or twelve, or twenty. But this is what I've learned today: there's knowing, and then there's knowing, and after the second kind comes seeing. The first kind of knowing is where Ron is: he knows that there must be other people, but he still chooses not to know. This is what you do when you don't want to know what you know: (1) You don't ask too many questions. (2) When you hear the two women you love giggle or whisper, you go to a different room and you tell yourself it's a choice, your choice, to give them privacy; you tell yourself that women often whisper, and it doesn't mean one of them is having sex with people you don't know. (3) When you smell another man on one of the women you love, you suggest we all hop in the shower; you say you feel sticky. When the same woman says, But I don't feel sticky, you say, Do it for me, then—in a way that tells her a shower is easier than a conversation.
The second kind of knowing happens when someone you love actually tells you what you already know. Often, for Zoë and me, this happens around evening time. In the bedroom that the three of us share, Zoë and I will be lying on top of our blanket—me, in my baggy Basic Training T-shirt that I use as pajamas; she, still all dressed up and smelling like the outside world, because she is always waiting for one of us to undress her. Zoë's hand under my T-shirt, up and down and tickling a little, she'll suddenly get a playful look in her eyes, stretching herself so that her lips face my ear. I fucked Randy the produce guy, she'll whisper to me and giggle, and then, Your skin is the softest I've ever touched—like Randy the produce guy has nothing to do with us.
So the second kind of knowing happens when you hear the woman you love whisper tales of other lovers in your ear, and sadness feels like something you swallowed without chewing, but the next morning it feels more like a bedtime story you listened to half asleep, something unworthy of your daytime attention.
And then there's seeing. Seeing happens when there's a pale guy who looks harmless but he's not, and Zoë leaves you alone in a bookstore and comes back smelling of him. Seeing happens when you realize that you will never again be able to excite her like that, because the glow of her skin is about one thing: touching a new body.
"These are dazzling and daring stories from the extraordinary Shelly Oria, a writer I was thrilled to discover. Oria captures her characters at their most vulnerable, exposing their true natures in flashbulb bursts of surprising, exhilarating action. She's got style to burn, obsidian wit, and a deep feeling for the subterranean choreography between people's day-lit and shadow selves. In New York 1, Tel Aviv 0, Oria makes exquisite music out of the fragility of human relationships."
Karen Russell, author of Vampires in the Lemon Grove and Swamplandia!
"The dangerous, ambitious, and cosmopolitan women who dominate the pages of New York 1, Tel Aviv 0 break hearts indiscriminately--female hearts, male hearts, sometimes both at once. Likewise the wit, sparkling intelligence, and sensitivity of Shelly Oria's story collection will seduce you, abandon you, and leave you craving more."
James Hannaham, author of God Says No
"Shelly Oria's acutely feelingful stories about the beautifully confusing love lives of the post-gender generation are wonderworks of candor and grace. In warm, intimate voices,Ms. Oria's narrators young, wisdom-rich, often bicontinental--struggle winningly with longing and loss. If you want to know how the new human heart feels and sounds right this very instant, this is the only book you'll need."
Gary Lutz, author of Stories in the Worst Way
"Shelly Oria's sparkling stories of busted love, tentative lust, and international identity can come at you in pieces: they can be structured in fragments, numbered like lists, broken up like a dotted line. Inevitably, though, they reassemble by the time she's done with them, which ensures that you won't be done with them for a while--they'll stay with you, gently insistent, pressing on your mind from all directions."
Ben Greenman, author of The Slippage and Mo' Meta Blues
"Shelly Oria is a true Romantic. Her debut collection contains heartache, longing, and three-ways. New York 1, Tel Aviv 0 is touching and funny and insightful. The desire to find a home, whether with a person or in a place, haunts this wonderful collection. These stories reminded me of the subtle melancholy so present in writers like John Cheever and Jhumpa Lahiri. Shelly Oria is a gifted new writer."
Victor LaValle, author of The Devil in Silver
"Reading New York 1, Tel Aviv 0 is like getting all the best passport stamps-- it's your ticket to the uncharted worlds of the most fraught and fascinating characters in contemporary fiction. Shelly Oria's writing has everything: insights that will grab you by the throat; a voice that's wholly, disarmingly original; and a heart that fills and throbs and bursts. These stories will astonish you."
Diana Spechler, author of Who by Fire and Skinny
"Fierce, funny, and utterly captivating, every story in this superb collection rings with aching truth about our strange, sad world and all the wonder and beauty there is to behold within it. By turns tender and provocative, Shelly Oria writes with great compassion and stunning grace about fear and failure, loss and longing, isolation and intimacy."
Aryn Kyle, author of Boys and Girls Like You and Me and The God of Animals
"Shelly Oria's gorgeous stories pass over and through borders between nations, genders, and bodies, all the while fully aware of the contradictions contemporary culture presents."
Samantha Hunt, author of The Invention of Everything Else
"Trying to fi gure out what an Israeli is, who an Israeli is in America, who the ones are who go back and forth, the devastatingly observant Shelly Oria takes us to Brooklyn and Manhattan, Tel Aviv and Jerusalem, and, in one of the most memorable of these stories, Albany! Searching to describe her tone, her laugh-out-loud originality, and her (mostly young) deliciously mixed- up, love-addicted, often-rueful characters, I'd say fresh-- yes, fresh as the brilliant shock of new paint."
Honor Moore, author of The Bishop's Daughter
"How can a voice be so direct and yet so delicate? In New York 1, Tel Aviv 0, Shelly Oria tenderly lays out the truth about human beings, creatures so intelligent they are able to outwit themselves most of the time. Oria's stories also reveal the rare moments when we humans find ourselves on the verge of transcendent revelation. But the heart of Oria's gift is her language: seductive, precise, and--over and over--startlingly beautiful."
Nelly Reifler, author of Elect H. Mouse State Judge
"Shelly Oria has written a fiercely original, sharp and stunning collection. New York 1, Tel Aviv 0 perfectly illuminates the breadth of life's complexities, is insightful throughout, and is funny when you least expect it."
Alison Espach, author of The Adults
"In New York 1, Tel Aviv 0, Shelly Oria shows us the parts of ourselves that we most fear. And by rendering their brokenness, loneliness, and magic so tenderly, she shows us how to be tender. With her unflinching gaze, she shows us how to see."
Melissa Febos, author of Whip Smart
"Whether in cooking classes or eye clinics or blood banks or fitting rooms, whether amidst time stoppages or amidst sounds that only one person can hear, Shelly Oria's characters are utterly original. New York 1, Tel Aviv 0 is wondrous, wise, a dazzling debut."
Joshua Henkin, author of The World Without You
"With their dark honesty, these are stories tuned in to the endless and extravagant strangeness of the world. Shelly Oria has a wonderful range of methods for dazzling us, and New York 1, Tel Aviv 0 marks the arrival of a wildly talented writer."
Joan Silber, author of Ideas of Heaven
Karen Russell, author of Vampires in the Lemon Grove and Swamplandia!"The dangerous, ambitious, and cosmopolitan women who dominate the pages of New York 1, Tel Aviv 0 break hearts indiscriminately--female hearts, male hearts, sometimes both at once. Likewise the wit, sparkling intelligence, and sensitivity of Shelly Oria's story collection will seduce you, abandon you, and leave you craving more."

redpajama_set_name: RedPajamaCommonCrawl


To be honest, the amount of beauty products I own is... shocking. I have bins and boxes beneath my bathroom sink, I have some I keep in my closet and yet there they are, overflowing around my sink. I've tried it all. I give them away to friends. I tell myself I'm only going to leave out what I actually need. But then I realize that, well, today I want orange lipstick, not red, or it's a little colder today so I want a different face oil, or what if instead of a seven-step skincare system, I went for eight, or nine? I thought that my problem with skincare was that the possibilities are endless, but, in reality, my problem was simple: organization. Or, rather, disorganization.
I was disorganized, and it was time to put an end to the maddness.
I started researching skincare storage, and it led me into the wild world of beauty organizers. From trays to stands to giant shelves to adorable, woven baskets, the possibilities are endless. I took to Reddit, which had a lot of opinions about cheap plastic organizers, so I learned that if I was going to do plastic, I should do a sturdy plastic. I took to Instagram, where I saw trays upon trays with adorable prints. Too, I took to Google and just saw what popped up.
Then, I came across these two beauties that I'm excited to share with you today. Because yes, I'm this excited about organizing my products.
The first beauty organizer I found love with was the Poise Accessory Organizer, which is $20 from Dormify.
This one saves me when it comes to my daily skincare routine, as well as some extras. You'll see I have serums at the top, featuring my favorite peel from The Ordinary, my Paula's Choice goodies, and additional oils and lotions, like this shaving set from DeoDoc that makes me not hate my live when I decide to shave.
I also shove lots of scrunchies in this bad boy, and it holds it all without shaking, struggling, or giving me any stress about it one day snapping and my beloved (and expensive) products rolling free.
I keep my foundations and concealers on the second shelf. The simple fact that this has two shelves helped distinguish it from other organizers for me. It's nice that it has multiple areas of storage, but it doesn't have specific slots your products have to fit into like a lot of other ones I came across.
My tiny Flesh Thicksticks and larger perfumes sit comfortably along my tiny Almay makeup wipes, and I like to roll in some lipsticks and balms wherever I find additional space.
I really like the gold color of this. It feels elevated, and it hasn't chipped or peeled despite me aggressively shoving prooobably too many products in it on a regular basis.
The second one I fell in love with is the Clear Clarity Vanity Mirror, also $20, and also from Dormify.
I chose to use this one for my bedside table because yes, I have products I like to appy directly before bed. It perfectly holds all of my balms and creams, like my French Girl nightcream and my wide variety of lip balms. It is a gem when it comes to my jade roller, which, if ever broken, would cause me to cry a thousand tears.
This does have lots of handy holders, but I like it because they are kind of large squares, so they give me flexibility for my products. I can either stand everything up, as I do when I'm being organized, or I can just shove everything in there when I'm being lazy and just want to roll on some peppermint oil (buh-bye headaches) and head to bed.
Oh, and did I mention that it has a mirror? I looove this mirror. It's large enough to fit my kind of giant face, and it has a sort of edgeless, modern feel, making it feel super minimalist and definitely not wasting any space at all that I could be using to pluck my brows or press in a face oil with extra decor.
It's a mirror, and it holds my things, and it keeps it simple.
Get more beauty & skincare tips from Her Campus Beauty, our always-on, dope skincare hang.


text:
Symphonia est un jeu vidéo de plateformes en 2D développé dans le cadre de la dernière année d'étude de 13 étudiants de l'école ISART Digital. Il est sorti gratuitement le 23 juin 2020 pour Windows sur la plateforme Itch.io.

Le jeu propose d'incarner un violoniste évoluant dans un univers composé d'instruments de musique géants et de rouages mécaniques, dans une quête pour réveiller la cité et ses habitants en jouant du violon.

Système de jeu
Le jeu est divisé en trois zones, correspondant à trois quartiers de la ville de Symphonia, elles-mêmes subdivisées en salles qui se suivent de manière linéaire. Le joueur est amené à les traverser en évitant des pièges, afin d'atteindre différentes salles de concert dans lesquelles il joue du violon, ce qui a pour effet d'éveiller la cité et ses habitants.

Au delà des traditionnels mouvements latéraux et du saut, les capacités du joueur sont profondément axées autour de l'archet et du violon : l'avatar peut planter son archet de violon dans des coussins de velours rouge afin de se propulser dans une direction à la manière d'un lance-pierres, ou l'utiliser comme bâton-sauteur en le dirigeant vers le sol. Le violoniste peut également jouer du violon à n'importe quel moment, ce qui se révèle nécessaire de manière ponctuelle, afin de résoudre des situations de jeu ou d'enclencher des cinématiques.

Symphonia propose également de récupérer jusqu'à 200 fragments de musique, des objets optionnels à récupérer qui sont quelques fois complexes à atteindre. Leur obtention décerne un titre au joueur à la fin de la partie selon la proportion de fragments récupérés.

Réception
Le jeu se démarque auprès des joueurs et de certains organes de presse spécialisées, en particulier grâce à son univers graphique léché, son gameplay inventif et sa relation à la musique orchestrale.

2020
Lors d'un évènement interne à l'école, Symphonia obtient le Grand Prix du Jury face aux autres jeux étudiants produits cette année.

Dès le mois de juillet, le jeu est nominé au concours international de jeux étudiants The Rookies et remporte la seconde place.

En novembre, Symphonia remporte le concours de jeux indépendants Indie Games City lors de la  édition de la convention Évry Games City, sa première récompense remportée face à des jeux déjà commercialisés. Cette victoire permet à l'équipe de bénéficier d'un an d'hébergement et d'accompagnement gratuit au sein de l'incubateur du C-19 pour développer leurs futurs projets.

En décembre, le jeu est nominé aux Unity Awards 2020 dans la catégorie Meilleur jeu étudiant.

2021
En mars, le jeu remporte le Pégase du meilleur jeu étudiant lors de la deuxième cérémonie de l'Académie des Arts et Techniques du Jeu Vidéo.

Références

Jeu vidéo sorti en 2020
Jeu Unity
Jeu vidéo développé en France
Jeu vidéo étudiant
Jeu Windows
Jeu de plates-formes

redpajama_set_name: RedPajamaWikipedia


text:
Bouba/kiki-effekten är en icke godtycklig kartläggning mellan tal och ljud och den visuella formen på objekt. Effekten observerades för första gången av den tysk-amerikanske psykologen Wolfgang Köhler år 1929. I psykologiska experiment som först utfördes på ön Teneriffa (där det primära språket är spanska), visade Köhler bilder som liknar de som syns till höger. Han frågade deltagarna vilken form som kallades för "takete" och vilken som kallades för "baluba" ("maluma" i 1947 års version). Även om det inte uttryckligen angavs, antog Köhler att det fanns en stark preferens att associera den spetsiga formen med "takete" och den rundade formen med "baluba".

Referenser

Noter

Psykolingvistik
Neurovetenskap
Psykologi


The intention was to raise participants' knowledge about the heart and factors contributing to heart disease. Input by health specialists and science presentations ensured that students were armed with enough information to create a short animation or audio sound track in artistic workshops running concurrently.
Students were taught simple clinical skills including how to locate and monitor a heart beat as well as taking blood pressure of fellow class mates.This assisted the students in visualising the workings of the heart and blood flow.
The visual workshops taught the children valuable skills in photography, stop frame animation and art and design. It gave students the opportunity to discuss and translate science information through to storyboarding of ideas, leading on to a final animation.
Listening skills were finely tuned during this project and students were given free range to explore and identify the uniqueness of their own voice and consider how this could contribute to the individual sounds that needed to be replicated in each movement to tell the story.
Students learnt how to work in small groups replicating individual sounds which were then arranged with other sounds to create four different movements. During this phase of Corporeal Cacophony, students learnt valuable music skills, performing as a choir and listening when to come in and drop out of the choral piece according to the science story.
In addition to the music and art skills and acquisition of science knowledge, Corporeal Cacophony has assisted the participants currently studying BTEC Level 1 in Healthy eating, leading on to Level 2 in Nutrition Awareness.


text:
Il Torneo Supercup 2001 si è svolto nel 2002, nell'impianto Volkswagenhalle, sito nella città di Braunschweig.

Squadre partecipanti

Risultati

Classifica

Competizioni sportive a Braunschweig
Pallacanestro a Braunschweig
Pallacanestro nel 2001
Torneo Supercup


I saw these easy newspaper flowers on Red Ted Art and wanted to try them out with this headband. We didn't have any buttons. So, we used pom poms and other added things to make this headband so fun!
Step One. Setup your child's workstation. Layout pieces of newspaper, paint and foam brushes. Have your child paint the newspaper. Sprinkle glitter on the paint before it's dry. Then, let it dry completely. Too excited to wait? Use a blow dryer to blow dry the newspaper.
Step Two. Cut two large circles, two medium circles and two small circles out of the newspaper. Can you tell my daughter loves to paint her hand? LOL.
Step Three. Stack the circles biggest to smallest gluing them in the center as you go.
Step Four. Crinkle the edges inward to make it look like a flower (start with the smallest circles and work your way to the biggest circles).
Step Five. Have your child glue on embellishments. Such as: pom poms to the center of the flower, feathers that act as leaves, and the pearls.
Step Six. I used the felt taco shell from our last post (Taco Bar Dramatic Play for Kids) for this step. If you didn't make that, no biggie. Simply trace a small salad plate onto the felt and cut the circle out. Next, cut two slits in the felt circle (one on each end) for the headband to fit through.
Step Seven. Glue the tulle on the felt circle (I had to use the hot glue gun for this). Then, slide the headband through the slits.
Step Eight. Glue the newspaper flower onto the felt.
You have a Tea Party Headband for your tea party fun!
Let's be pinning buddies on Pinterest! I pin so many fun kid crafts and activities there! Love this post? Pin it. Love it. Share it!
Oh my! These are so cute! Love love love! Thanks fo rmentioning our flowers. Off to pin your post!
Thank you so much Maggy! I'm so happy you love it! That means so much!


Medical Alerts :: Caddo Council on Aging :: Shreveport, LA.
knowing that if needed, emergency assistance is available at the push of a button.
The pendant is worn on an adjustable nylon cord.
The waterproof casing enables you to have protection in one of the most accident-prone areas, the bathroom.
The communicator is installed in a central location in your home where a phone line is easily accessible.


text:
"Moe-lovers, please don't murder me," or reflecting on my discomfort around "The World's Greatest First Love: The Case of Ritsu Onodera"
[The anime under discussion is rated TV-MA. Please proceed with appropriate caution.]
I am ripping my retinas away from Hakuouki to write this post; yes, although it has been four years, I remain in love with said franchise to the point that I'm grinning like an idiot just listening to it play in the background. Writing each sentence becomes increasingly more difficult as my attention wars between this post and delightful Hakuouki dialogue. I suppose I must remove the source of my distraction, for we all know that Christmas is upon us, and there is much to do!
There are posts to write with Scott (because Scifi and Sparkles rides again this holiday season!!), there are pieces to write for my blog alone (like this one!), and there are countless ways in which life makes concentrating on anything other than potential despair all the more difficult at present. (I've been screaming in the most vague sense on Twitter. Health problems are scary. Also, are you done Christmas shopping yet? I am, finally! *inserts something half-hearted and hand-wavy about capitalism*)
I've dedicated time to fanfiction (I'm authoring the longest current HaraChi fanfic on Ao3, and I'm ridiculously and hilariously proud of that.), but today is also a day for review. Thus, let us make like a Youtuber and eventually get past this long-winded introduction (SKIP TO THE NEXT HEADING FOR CONTENT) because I am ready today, my guys! It's time to talk anime!
We're going to talk about The World's Greatest First Love: The Case of Ritsu Onodera. Even though I never wanted to admit that I watched this show… well, I watched it quite some time ago, and there's certainly a lot to unpack. This is hard to write.
In case you don't know, The World's Greatest First Love: The Case of Ritsu Onodera (aka Sekai-Ichi Hatsukoi: Onodera Ritsu no Baai or Sekai Ichi Hatsukoi: The World's Greatest First Love) is a BL series spin-off of Junjo Romantica (yes, THAT Junjo Romantica) telling the story of Ritsu and Masamune, one-time sweethearts who now (OOPS!) work at the same manga company! The series also tells the story of two other couples tangentially related to the main pair.
As I've said in the past, I don't like writing summaries, so I'm going to swipe this one directly from Wikiepdia before I move on:
Ritsu Onodera, a literary editor, resigns from his father's publishing company, due to his coworkers' jealousy toward his success, claiming that he is simply riding his father's coattails. He applies for a position at Marukawa Publishing in order to move away from his father's shadow, but instead of his preferred department of literature, he is placed in the infamous shojo manga department, Emerald. He initially considers resigning, especially because he finds his new boss, Masamune Takano, intolerable and unnerving from the very beginning; however, Takano inadvertently convinces Onodera to stick with the job by calling him "useless," his pride forcing him to stay in order to prove his worth. Later, Onodera learns that Takano's old family name was Saga, and that he was an older schoolmate from high school that Onodera fell in love with and confessed to. It turns out Takano still has feelings for Onodera, and he tells him he will make him fall in love with him again. The series shows how Takano slowly achieves this goal, and the obstacles the two face.
There are also two other couples in this show; their stories are shown in later episodes. The characters follow Onodera's fellow editors: Hatori and his longtime friend (and manga artist he's in charge of) Yoshino, as well as Kisa and the attractive bookstore employee he has his eye on, Yukina.
-Wikipedia
Okay, now we're all on the same page, yes? Yes. Good. Also, we're gonna call this title GFL for short, because you'll have mercy on my poor fingers and nonexistent spelling skills, right?
Studio Deen animates this title, which should tell you everything you need to know regarding how it's my kind of title, visually speaking. Like many of Studio Deen's works, GFL employs a bishie-ism that moe studios aren't brave enough to attempt. (I'm kidding, moe-lovers, please don't murder me.) Seriously, though, this title is pretty to look at, and when the goal is illustrating handsome men, that's definitely a plus. It's no Hakuouki, but the colors are lovely, and the characters are drawn to pretty well mimic its source material's manga style. If visual continuity is your goal, you're good there.
(Yes, Studio Deen also animated Hakuouki, so we must thank them for making me into a sobbing mess on more than one occasion. And now I'm going to stop talking about Hakuouki in this post, I promise. <3)
Additionally, the acting… gosh, the voice acting. It's just phenomenal. It can't be overstated. In lighthearted and intense, problematic scenes, their voices are so emotional that I'm really just in awe. When Ritsu cries, you know his voice actor is really crying, and I just…
The voices are my favorite part of the whole show.
But to get into the true point of this post, the reason that I didn't write about this show forever ago is because I was… ?embarrassed? ?ashamed? ?conflicted? ?uncomfortable? ?unmoored? ?confused?
I didn't write about this show after first watching it because I didn't know what to say.
GFL is intense and interesting. The relationships between the various characters are well fleshed out and multifaceted for this type of show, and I'll admit that I really was glad when I saw that it had a second season. Parts of it made me laugh out loud (like, in just one example, when Masamune laughs at an ill-timed joke and Ritsu yells at himself that he can't be in love with such a total @$$hole as Masamune!), and I watched the whole show in only a few days.
It's also problematic, and characters sometimes ignore consent in ways that make me incredibly uncomfortable. For example, Ritsu keeps telling Masamune to back off. He keeps telling him that he isn't interested anymore, that he wants to keep things professional. We as the audience know that Ritsu is conflicted in how he feels, but even so–even understanding that Masamune believes that Ritsu is conflicted, too–the older man doesn't take no for an answer, and that's honestly just not okay. He kisses Ritsu when Ritsu tells him to LET GO, and he uses his size to his advantage to hold Ritsu down, etc.
It doesn't mean–in the context of our show–that Masamune doesn't love Ritsu, but it does mean he's doing something very wrong. Masamune should not be accosting Ritsu those ways, should not press Ritsu against a door, bring the smaller man's hand down and say "touch me" when Ritsu has already said NO.
I'm given to believe that a lot of BL has these sorts of undertones. I'm not exactly sure how to come to terms with a show like this, or whether or not I should, and that's why I didn't want to admit I've seen it and definitely didn't want to talk about it. (I mean, I have problems with Love Stage!, too, so it goes without saying that I'd be uncomfortable with a title that takes Love Stage!'s brief lack of consent so much father.) But at the same time, the voice acting is SO GOOD, the music so well-paired, and their emotions make my heart beat so fast. I kept watching it because it made me want to know what would happen next.
To illustrate, please watch the following short scene.
I think the most important thing to note about this title is that, in real life, these situations are not okay. It doesn't mean they don't happen, but that when they do happen, they aren't to be excused. At the same time, recognizing that, I can appreciate that GFL tells a compelling, emotional story utilizing problematic situations. I feel like the feelings and motivations of the characters are amazingly portrayed, even when the creators end up romanticizing inappropriate actions in the course of doing so.
I guess that's it, really. Maybe I didn't take the right things out of this, or maybe it wasn't the creators' intent, but the reason I liked GFL is that it made me feel something–made me feel like I was watching something real, unhealthy, emotional and honest unfold. At the end of the day, don't accept this sort of behavior from anyone, even if you love them, and don't make sexual advances without consent.
If you want to watch GFL, it's available on Funimation. If you do, please go into the title knowing what you're about to see isn't a healthy relationship, but it is undeniably an interesting story.
I will probably regret publishing this. Until next time, please stay home when you can, and wear a mask when you can't. Wash you hands, and stay safe!
~Shoujo ❤
Posted on 20 Dec 2020 by ShoujoPosted in Anime, The World's Greatest First LoveTagged Anime, BL, boys love, consent, discomfort, great voice acting, humor, Junjo Romantica, manga, Masamune Takano, problematic, publishing, Ritsu Onodera, romance, Sekai-Ichi Hatsukoi: Onodera Ritsu no Baai, shojo manga, The World's Greatest First Love: The Case of Ritsu Onodera, The World's Greatest First Love, themes, uncomfortable.
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2 thoughts on ""Moe-lovers, please don't murder me," or reflecting on my discomfort around "The World's Greatest First Love: The Case of Ritsu Onodera""
wretchedanddivine says:
I agree. Fiction =/= reality. In reality, Masamune's behaviour is problematic. Further down in the manga, one scene, in particular, is really bad due to his jealousy. It turned a lot of readers away. Sigh This was my first BL anime so I have fond memories of it. I agree, don't accept this kind of behaviour in real life. That's an important message.
Pingback: "It was total Boy Love bait." –Fandom/Anime Viewership and IRL 2020 Reflection Podcast – Shoujo Thoughts: ☆ ~('▽^人) Otaku Ramblings


text:
Vanderbilt Memory & Alzheimer's Center
History, Mission, and Vision
Risk & Prevention Initiative
Early Detection Initiative
Resilience Initiative
Clinical Trials Initiative
Join a Study
Brain & Tissue Donation
Interdisciplinary Alzheimer's Disease Journal Club
Alzheimer's Disease Research Day
VMAC Guest Lecture Series
NIA Alzheimer's Disease Research Center
Vanderbilt Memory & Aging Project
VUMC Researchers - Application for VMAC Registry Referrals
Pilot Funding Awards Announced by the Vanderbilt Brain Institute and the Vanderbilt Memory and Alzheimer's Center
The Vanderbilt Brain Institute and the Vanderbilt Memory and Alzheimer's Center have awarded funding for eight pilot studies spearheaded by Vanderbilt University, Vanderbilt University Medical Center, and Meharry Medical College investigators. These pilot studies collectively focus on neurodegeneration, Alzheimer's disease, and related dementias.
While neurodegenerative diseases can be quite debilitating, there is still little known about the pathophysiology of many of these disorders. Alzheimer's disease specifically affects over 5.8 million Americans and their families. Despite decades of research and hundreds of clinical drug trials, there is still no disease modifying therapy for Alzheimer's.
Both the Vanderbilt Brain Institute and the Vanderbilt Memory and Alzheimer's Center sought to spark innovation, encourage collaboration, and provide seed funding as a foundation for future extramural support. The pilot studies funded this year will test new, interdisciplinary approaches and add evidence to support new research directions.
List of Project Awards
Funded by the Vanderbilt Brain Institute
Ultrastructures of synapses in SNAP25-associated encephalopathies revealed by cryo-electron tomography
Qiangjun Zhou, PhD (Vanderbilt University) and Baris Alten, MD, PhD (Vanderbilt University)
Molecular mechanism for the pathogenesis of cerebral amyloid angiopathy
Ethan Lippman, PhD (Vanderbilt University) and Matthew Schrag, MD, PhD (Vanderbilt University Medical Center)
Electrophysiological correlates of cognitive neurodegeneration in older adults with Down syndrome
Alexander Conley, PhD (Vanderbilt University Medical Center) and Alexandra Key, PhD (Vanderbilt University Medical Center)
Role of Protease Activated Receptor 4 in cerebrovascular dysfunction and dementia
Heidi Hamm, PhD (Vanderbilt University); Matthew Schrag, MD, PhD (Vanderbilt University Medical Center); and Timothy Hohman, PhD (Vanderbilt University Medical Center)
Funded by the Vanderbilt Memory and Alzheimer's Center
Translational animal-to-human study of cholinergic decline in aging and relationship to biomarkers for Alzheimer's disease risk
Paul Newhouse, MD (Vanderbilt University Medical Center); Sepideh Shokouhi, PhD (Vanderbilt University Medical Center); and Carrie Jones, PhD (Vanderbilt University)
Subjective cognitive decline, cognitive performance, and cholinergic function interaction in older adults
Kimberly Albert, PhD (Vanderbilt University Medical Center); René Marois, PhD (Vanderbilt University); Alexandra Key, PhD (Vanderbilt University Medical Center); and Paul Newhouse, MD (Vanderbilt University Medical Center)
Funded Jointly by the Vanderbilt Brain Institute and the Vanderbilt Memory and Alzheimer's Center
Ceramide and S1P concentrations in Alzheimer's disease and Type II diabetes patients vs. normal patients
Tameka Clemons, PhD (Meharry Medical College) and Renã Robinson, PhD (Vanderbilt University)
Dietary polyphenol intake effect on Alzheimer's disease and related dementias risk and plasma polyphenol biomarkers in the Southern Community Cohort Study
Danxia Yu, PhD (Vanderbilt University Medical Center); Laura Keohane, PhD (Vanderbilt University Medical Center); Qi Dai, MD, PhD (Vanderbilt University Medical Center); and Ginger Milne, PhD (Vanderbilt University)
Vanderbilt Neurology Research Wins Stroke Progress and Innovation Award


text:
Q: android.content.res.Resources$NotFoundException: Resource ID #0x7f040019 I do not know why I receive that exception in the line setContentView(R.layout.activity_main);. I have tried to CLEAN the project, REBUILD, RERUN, REEVERYTHING.... but nothing works.
This are the files:

MainActivity.java

@Override
protected void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.activity_main);

    recyclerView1 = (RecyclerView) findViewById(R.id.recycleView1);
    adapter1 = new MyCustomAdapter(this, Group.getData());
    recyclerView1.setAdapter(adapter1);
    GridLayoutManager mGridLayoutManager = new GridLayoutManager(this, 5); // (Context context, int spanCount)
    recyclerView1.setLayoutManager(mGridLayoutManager);

    recyclerView = (RecyclerView) findViewById(R.id.recycleView);
    adapter = new MyCustomAdapter(this, Data.getData());
    recyclerView.setAdapter(adapter);
    LinearLayoutManager mLinearLayoutManagerHorizontal = new LinearLayoutManager(this); // (Context context)
    mLinearLayoutManagerHorizontal.setOrientation(LinearLayoutManager.HORIZONTAL);
    recyclerView.setLayoutManager(mLinearLayoutManagerHorizontal);
    adapter.setAddapter(adapter1);
    adapter1.setAddapter(adapter);
   final RecyclerViewFastScroller fastScroller = (RecyclerViewFastScroller) findViewById(R.id.fastscroller);
    fastScroller.setRecyclerView(recyclerView);
   fastScroller.setViewsToUse(R.layout.recycler_view_fast_scroller__fast_scroller, R.id.fastscroller_bubble, R.id.fastscroller_handle);

}
public boolean onCreateOptionsMenu(final Menu menu) {
    getMenuInflater().inflate(R.menu.activity_main, menu);
    return super.onCreateOptionsMenu(menu);
}

v21/activity_main.xml

<LinearLayout
    xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:tools="http://schemas.android.com/tools"
    android:layout_width="match_parent"
    android:layout_height="match_parent"
    tools:context="com.group.tarekit.swapgroup.MainActivity"
    android:orientation="vertical">

    <android.support.v7.widget.RecyclerView
        android:id="@+id/recycleView"
        android:layout_width="match_parent"
        android:layout_height="130dp">
    </android.support.v7.widget.RecyclerView>

    <com.group.tarekit.swapgroup.RecyclerViewFastScroller
        android:id="@+id/fastscroller"
        android:layout_width="match_parent"
        android:layout_height="wrap_content" />

    <View
        android:layout_width="match_parent"
        android:layout_height="1dp"
        android:background="@android:color/darker_gray"
        android:id="@+id/view" />

    <LinearLayout
        android:orientation="vertical"
        android:layout_width="match_parent"
        android:layout_height="wrap_content">

        <TextView
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:textAppearance="?android:attr/textAppearanceLarge"
            android:text="Group Mates"
            android:id="@+id/textView"
            android:layout_gravity="center_horizontal"
            android:textSize="22dp"
            android:textColor="#2cb21a" />

        <android.support.v7.widget.RecyclerView
            android:id="@+id/recycleView1"
            android:layout_width="match_parent"
            android:layout_height="match_parent">
        </android.support.v7.widget.RecyclerView>
    </LinearLayout>

</LinearLayout>

Android Monitor

07-11 00:22:20.750 21017-21017/com.group.tarekit.swapgroup E/AndroidRuntime: FATAL EXCEPTION: main
     java.lang.RuntimeException: Unable to start activity ComponentInfo{com.group.tarekit.swapgroup/com.group.tarekit.swapgroup.MainActivity}: android.content.res.Resources$NotFoundException: Resource ID #0x7f040019
         at android.app.ActivityThread.performLaunchActivity(ActivityThread.java:2114)
         at android.app.ActivityThread.handleLaunchActivity(ActivityThread.java:2139)
         at android.app.ActivityThread.access$700(ActivityThread.java:143)
         at android.app.ActivityThread$H.handleMessage(ActivityThread.java:1241)
         at android.os.Handler.dispatchMessage(Handler.java:99)
         at android.os.Looper.loop(Looper.java:137)
         at android.app.ActivityThread.main(ActivityThread.java:4963)
         at java.lang.reflect.Method.invokeNative(Native Method)
         at java.lang.reflect.Method.invoke(Method.java:511)
         at com.android.internal.os.ZygoteInit$MethodAndArgsCaller.run(ZygoteInit.java:1038)
         at com.android.internal.os.ZygoteInit.main(ZygoteInit.java:805)
         at dalvik.system.NativeStart.main(Native Method)
      Caused by: android.content.res.Resources$NotFoundException: Resource ID #0x7f040019
         at android.content.res.Resources.getValue(Resources.java:1339)
         at android.content.res.Resources.loadXmlResourceParser(Resources.java:2445)
         at android.content.res.Resources.getLayout(Resources.java:1178)
         at android.view.LayoutInflater.inflate(LayoutInflater.java:395)
         at android.view.LayoutInflater.inflate(LayoutInflater.java:353)
         at android.support.v7.app.AppCompatDelegateImplV7.setContentView(AppCompatDelegateImplV7.java:256)
         at android.support.v7.app.AppCompatActivity.setContentView(AppCompatActivity.java:109)
         at com.group.tarekit.swapgroup.MainActivity.onCreate(MainActivity.java:23)
         at android.app.Activity.performCreate(Activity.java:5184)
         at android.app.Instrumentation.callActivityOnCreate(Instrumentation.java:1094)
         at android.app.ActivityThread.performLaunchActivity(ActivityThread.java:2078)
         at android.app.ActivityThread.handleLaunchActivity(ActivityThread.java:2139)
         at android.app.ActivityThread.access$700(ActivityThread.java:143)
         at android.app.ActivityThread$H.handleMessage(ActivityThread.java:1241)
         at android.os.Handler.dispatchMessage(Handler.java:99)
         at android.os.Looper.loop(Looper.java:137)
         at android.app.ActivityThread.main(ActivityThread.java:4963)
         at java.lang.reflect.Method.invokeNative(Native Method)
         at java.lang.reflect.Method.invoke(Method.java:511)
         at com.android.internal.os.ZygoteInit$MethodAndArgsCaller.run(ZygoteInit.java:1038)
         at com.android.internal.os.ZygoteInit.main(ZygoteInit.java:805)
         at dalvik.system.NativeStart.main(Native Method)

A: You need to create an activity_main.xml file without the v21 qualifier so the system can default back to that file whenever it's running on lower API emulators.
Your resources should end up being something like:

You can learn more about qualifiers in this link.

redpajama_set_name: RedPajamaStackExchange


text:
Winslow bounces back with 27 as Heat outlast Cavaliers 100-94
Cleveland made it interesting but Miami did just enough to hold the win.
By Surya Fernandez@SuryaHeatNBA Jan 25, 2019, 11:58pm EST
Share All sharing options for: Winslow bounces back with 27 as Heat outlast Cavaliers 100-94
The Miami Heat took control of what was a tight game against the Cleveland Cavaliers in the third quarter to win 100-94 on Friday night, but not without a late game fright.
Even though they were facing the NBA's worst team with just nine victories for the season, the Heat once again played down to their opponent and actually were facing a deficit by halftime.
Cleveland used a balance attack in the first half and it wouldn't be until midway through the third quarter when the Heat went on a 9-0 run to grab the lead but the Cavs would answer back to close within 73-70 with just a few minutes left in the third. Winslow bounced back after a few lackluster game with an impressive first half, particularly with his much improved finishing touch around the rim and displaying sound basketball IQ.
Miami scored 32 points in the third quarter and closed with a 18-5 run, including Winslow erupting for a trio of 3-pointers and 13 points. A corner three from Justise would give the Heat its biggest lead of the night at 78-70 followed by a Josh Richardson steal for a James Johnson lob to Hassan Whiteside and an easy dunk.
Though it didn't have to take this long to restore order against such a bad team, it looked like it would be smooth sailing ahead by the time the Heat were up 90-72 late in the final quarter. But Cleveland stormed back with a 13-1 run in crunch time to threaten one last time.
Dwyane Wade scored 13 points, including a nice dunk in the fourth quarter for the fans of his former team (*still weird, I know). Hassan Whiteside controlled the paint with 14 points and 13 rebounds, showing some nice hustle and he even made both his free throws!
Miami seeks to return to .500 when they visit the New York Knicks on Sunday.


SLOWLY – perhaps too slowly – Camden Council are dealing with the problems thrown up by the flawed privately financed refurbishment of the Chalcots estate more than 10 years ago.
While many tenants and leaseholders will have doubts about the manner in which they were ordered out of their homes and the efficacy of the operation, questions remain.
These were markedly pointed up this week by both the views of the surveyor acting on behalf of the solicitors Hodge Jones and Allen, and the considered opinion of the very person the council relies on, Pat O'Neill, head of maintenance.
Both experts warn of a continuing fire risk at the estate. Mr O'Neill is more emphatic, pointing out that the window frames in the communal parts have been replaced – the highly inflammable plastic frames by fire-resistant plasterboard – in order to "encapsulate" the frames and stop the spread of fire in the block.
The question tenants are naturally asking is: If the communal frames have had to be replaced, why aren't all the window frames in their homes scheduled for replacement? Silence reigned when we posed this question last week. But the tenants are entitled to an answer now.
Before the Grenfell inferno most people – excluding experts and those who interpret the fatally watered down building regulations – were ignorant of the fire risks facing families living in tower blocks. The inferno swept all that ignorance away.
Apart from suspect forms of cladding, we know the risks tenants face in blocks where there are no sprinklers and alarm systems – yet the fire assessment report on Chalcots estate ruled out these systems. Perhaps if those who designed tower blocks lived in them they would be more fire-proof.
We have asked for an inquiry into the debacle over the Chalcots estate. This should be a priority for the council leader Georgia Gould.
A SIGNIFICANT decision has been taken by the School of Oriental and African Studies (SOAS) to directly employ their cleaners instead of employing private agency staff. Strikes, demonstrations and "occupations" led to this reversal of policy.
There is a gathering movement towards this goal in the public sector where outsourcing of services has proved costly and inefficient.
Hampstead Labour party, apparently, has approved a motion by the Unite union against "marketisation" of public services and a return to "in-house" services in Camden, including the resurrection of the Direct Labour department responsible for "construction and maintenance".
It is understood one or two leading councillors are also drawn to the idea. The times may be changing.


The Governor of the Central Bank of Nigeria, Godwin Emefiele, says the Apex bank has no immediate plan to devalue the Naira despite the continued downward slide of the Naira. Emefiele said this after the meeting of the bank's Monetary Policy Committee yesterday January 26th.
"We don't have any immediate plan to devalue the naira. However, we are already working on different scenarios; the models are being worked on.


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Thread: Incredible Photos of Houston
Posted Apr 10, 2008, 10:01 PM
NewAtlantisMiami
Atlantis Rises Again!
Originally Posted by SLO
Yeah, I dont know that people under rate the Houston skyline. It is definitely impressive, after NYC & Chicago its in the second tier with 6 or 7 other cities....
Houston's skyline is more than second tier. With the number of buildings that it has that are over 500 feet tall, it has had a lock on third behind New York and Chicago for over 20 years now.
Los Angeles had a boom in the late 80s and early 90s, which gave it the tallest building west of Chicago, but it wasn't enough to give it the third biggest skyline in the country such as Houston had.
Miami just recently had a boom that was so incredible that what has made it to construction thus far gives Miami a third place ranking behind New York and Chicago with buildings in the 400 feet tall and up height range. In the 500 feet tall and up height range, Houston is still third, but we are not done here in Miami. The city has several more buildings planned including three supertalls with interest in further developing Miami still very strong. The planned twin Empire World towers at 1,010 feet I feature in my avatar. They were originally proposed at 1,200 feet, but the FAA said "No way!" with Miami International Airport in the middle of the city. Houston will need another big boom to stay third behind New York and Chicago in the 500 feet tall and up range.
Find all posts by NewAtlantisMiami


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#52421 - 07/20/02 07:09 AM Re: Best comic books
Bear Bear
Ching Shih
Loc: Dublin, Ireland
John, alas it is not me. I think that's a public event. I just get to talk to him all alone in a hotel room, heh heh.
Seriously, I am so excited about this interview. This man has been a hero of mine since I was 15. I keep wondering what I should ask him to sign....
And Daegaer, I think you might like Alan Moore's League of Extraordinary Gentlemen a lot. Small H and I are huge fnas of it! It's set at the end of the 19th century, and all of the characters are figures from sensational novels or stories of the time - so we've got Fu Manchu, Mr Hyde, Myecroft Holmes....It's absolutely wonderful. It's available in v. expensive hardback, but I know that Sub City on Wicklow street still have the original comics, which would be much, much cheaper.
#52422 - 07/21/02 06:00 PM Re: Best comic books
Daegaer Daegaer
Lucrezia and Bear, thanks for the suggestions! Alas, poor paycheque!
JohnConstantine JohnConstantine
Loc: Minneapolis, MN
Originally posted by Bear:
See, now I'm forced to hate you for all eternity. *turns even greener with envy*
Have him sign something weird and obscure. Like The Life and Times of the Emperor Heliogopholis. Bet THAT would get a reaction.
I got issue 1 of The League of Extraordinary Gentlemen today. It's really, really good, and I just may be a convert to the ways of comics. The shop only had nos. 1 and 6 though, which was sad. Still, I was told that it'll be re-printed in paperback in September, and also that Volume 2, issue 1 is out tomorrow!
Oh my God! I didn't know it was coming out today! I'm so happy! Right, off to Sub City....
mithryll mithryll
Gráinne ni Mhaille
Originally posted by sunflow:
Most bookstores seem to carry some of them, but not exactly a wide selection. I've found very few of the series mentioned here, and the ones I did find were far along in the series. I'm sort of a nut about always starting at the beginning, so that won't work for me.
I did order Sandman's Preludes and Nocturnes a couple of weeks ago, and haven't heard back from the store. Probably time to go harass them.
On a similar note, how does one get involved with a long-running series, like the X-Men? I hate to just start buying in the middle because I saw the movie and can figure out the rest of it. I'm a great believer in chronology. (Mainly because I just hate having any plot point spoiled.)
I think it may be time to brave the local comic book store and hope they aren't terribly condescending to a woman who has no idea what she is talking about (only in regard to the comics, of course).
Don't wory about dealing with the comic book stores....I've had good and bad experiences. The good is probably when they just ignore you, the worst is when they suddenly realize a real live girl is in their presence! Just remember the comics are arranged to be easy to find -- alphabetically.
Sandman series is great -- and you can get all of them in graphic novel form from amazon. All of Gaiman's writing is amazing -- not just his comics.
X-men is VERY tricky. I read them for years -- starting back when there was only one or two titles. They lost me when they started introducing a new title almost every month. For one thing, it just got to be way too expensive. Now I'm back to only reading the Wolverine series.
The best suggestion I have for starting them is to look into the graphic novels first. They combine all the comics for a specific storyline, so you are sure to get all the parts. Then you can decide if you really want to get involved in the mess of the XMen universe.
Plus, the graphic novels are usually from the earlier years. The movie doesn't follow any real XMen storyline, and they really combined a bunch of characters so that they don't give a true representation -- like Rouge for one. But the earlier comics are closer to the movie than the present ones.
Anyway-- enough rambling!
Strega Strega
Loc: Maryland, USA
Just remember the comics are arranged to be easy to find -- alphabetically.
In all the stores I've been to, they're sorted by publisher first, then title. Which is so damn insane that after ten years, I still can't believe it really works that way. [stifles rant] If you're lucky, you may find a display with selected titles arranged by author.
Comic buyers are used to it, but it is very off-putting to new buyers. Item #75 in "How comics are screwed up."
While I'm here, not that I'm anxious about it or anything, but Bear, did you get that Gaiman interview? Share!
Strega, I'm sorry, I should have shared earlier!
He was great. We had lunch together in a v. fancy hotel, so now I can say that I have driven around in a limo [i[and[/i] eaten caviar with Neil Gaiman! He was pretty cool, and very interesting. He also told me how to contact none other than Alan Moore (!!!!!) which is fucking amazing. I would say more, but I'm going to write an extended version of the interview for Chicklit, so you can read it all properly then rather than my rushed summary.
He mentioned his time in Dublin in his online journal at his website (it'd be around the 20th August). Glad he had fun!
By the way, Part Two of the second volume of the League of Extraordinary Gentlemen is out now. So soon! Hurray! And it's very, very good....
Willow431 Willow431
Loc: New York
I just got the new Aimee Mann CD, Lost in Space (excellent, by the way), and I love the artwork by Seth. Do any of you read his series Palooka-Ville ? It looks pretty cool.
Alas. I never used to read comics, then I made the mistake of having a look at this thread. And made it worse by going to the comic shop. Now I seem to be hooked on the League of Extraordinary Gentlemen and 100 Bullets. There's also the very long and very expensive series Wolf and Cub which I'd really like to read, if I could get away with standing round in the shop "browsing" for several hours. So very weak...
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DIY Tank - As scary as I think it is?
Thread: DIY Tank - As scary as I think it is?
Have been trying to find a tank but I live in the sticks and shipping is expensive.
I have found several sites that have DIY tank instructions but I am freaked out about this.. anyone have any warm fuzzy stories to help ease my fears?
I have built my own 40g hex back/flat front tank and am somewhat happy with the outcome. It does hold water and doesn't bow, but the finish of the silicone was certainly not as precise as a professional tank. With this as my first DIY tank I don't think I would attempt this again on a larger tank. I sleep better knowing my 120 tank will not burst.
The key to DIY tank is to get the right silicone, not the Hardware store type. It has a better adhesive and is stronger when dried. I will see if I still have a tube when I get home.
The advantage to purchasing a pre-made tank is that the manufacturer will provide a warranty on the tank. Now usually you have to put it onto one of their stands for this warranty to be fully effective. I have read of Miracles arranging for emergency replacement tanks when one of their tanks failed.
When you consider the overall costs of setting up the tank, all the equipment and the cost of the livestock the cost of the tank will be minimal in the overall picture.
You might be best off to talk to one of those TO stores about purchasing all your equipment from a single store at one time and having a container shipped up all at once to minimize the shipping costs.
Thanks for the insight Rob. I certainly don't want any seal failures and I would worry for sure.
I built one too.. depending on the size, things get alot more complicated with the weight. cuts need to be bang on, and silicone must be set properly. my tank gave me quite a few sleepless nights thinking it would suddently let go.. it now has had water in it for a year.. nothing wrong. I do have ugly silicone sides.. but we do not see it anymore with all the coraline.
so, if you can get a supply of glass that garanty the cuts are bang on, then do some research on the dimensions, the bracing and jump on it.
look at it this way, I only had about 2 years experience when I started building my 400g.. so its definitely doable. You will also enjoy all that much more ( if you love DIY like I do ). you can be proud of your one of a kind creation.
Cheers and let us know what you decide. post some specs and we can comment on it and tell you our thoughts.
Being a greenhorn, I think for my first tank I will buy and practice my DIY skills on the stand, plumbing and possibly lighting.
and drilled holes you could probaly buy one for the same of less. and you wouldn't have to worry if you made any slight errors.
Just too Funny (and SCARY)!


I remember the day of 9/11 so clearly and vividly. I was at school and my form tutor called us in for registration, she put the telly on and we all watched transfixed as the first plane flew into the World Trade Centre. There was murmurs around that it was a freak accident and then the second plane flew into the second tower. The whole room went so silent you could hear a pin drop at the sudden realisation that this wasn't an accident. It was deliberate attack. I remember staring at the scenes on the telly feeling so confused and bewildered, unsure at what was happening but knowing deep down that things were about to change.
I was in two minds about visiting the 9/11 Memorial & Musuem* in New York. Unlike many museums and memorials I've visited, the events of 9/11 were ones I've lived through. I saw the images on television of the towers coming down and experienced the aftermath of the effect it had on the world. I selfishly didn't know if I was able to see that. But friends had mentioned that it was one of the most moving things they saw during their trip and it was a must-see. So I decided take the plunge and see it for myself.
Similar to my Auschwitz visit, it was draining. I felt myself on the verge of tears the entire time in the museum. You aren't allowed to take photos in certain parts of the museum, such as the Memorial Exhibition and Historical Exhibition, and rightly so. I saw people taking smiling selfies outside with the memorial and it didn't sit right with me. Reading eyewitness accounts of watching people jumping to their deaths, listening to the answering phone messages people had left on the phones of firefighters they knew were attending the scene, seeing the missing posters loved ones had frantically put up and seeing the destroyed fire engine that arrived first on the scene was so tough. But it was also in a way nice to remember how people came together on that fateful day. It was a day for both the worse and the best of humanity.
If you're debating about if you should visit the 9/11 Musuem and Memorial, then add it to your list. Yes it's hard to witness but it's such an important part of history and triggered so many things. It triggered events we're still dealing to today. It's absolutely wonderfully curated and is a really heart-wrenching experience that shouldn't be missed.


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Q: Can stored IP addresses be used for accurate geolocation after they get reassigned? If get the geolocation for an IP address that was stored in a database a year ago, the IP address may have been reassigned since it was stored, so that its current location is not the same as it was at that time. I am wondering if this new location is generally likely to be in the vicinity of the original location (eg, say a change from Ft. Lauderdale to Miami) or whether on the contrary it might get reassigned somewhere entirely different (eg Detroit).

A: "people all the time pay for "cancer" treatments that don't work. The vendor gets away with it because the patient dies before he can sue...you need geolocation, so you pay for it - even though it's inherently unreliable. –  John Saunders Mar 18 '11 at 1:40"
Correct. And its MUCH worse than that. Deliberate mis-geolocation along with criminal interference to public databases IS being used to electronically hide people. Accurate and meaningful Geolocation is evidently as likely as being paid a Euromillions Jackpot if youre not someone who is engaged in organised crime.


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« The Melian Dilemma: Varoufakis, Thucydides and game theory
Who Are You? »
Zigmilliardeneuro Oper
April 7, 2015 by NevilleMorley
"The distribution of wealth is too important an issue to be left to economists, sociologists, historians, and philosophers," remarked Thomas Piketty, in a work noted for its regular references to the novels of Austen and Balzac for insights into wealth and inequality in the nineteenth century. Contrary to the claims to scientific objectivity made by mainstream economics, issues of power and money inevitably have a subjective, psychological and hence political dimension; "democracy will never be supplanted by a republic of experts", and it is the imaginative artists who can depict the effects of inequality and the workings of the economy "with a verisimilitude and evocative power that no statistical or theoretical analysis can match."
Piketty confines himself to 'classic' literature as a supplement to sometimes patchy historical sources, rather than engaging with contemporary evocations. Perhaps there is also the implication that contemporary writers are rather shyer of, or more oblivious to, such themes (I seem to recall an article by John Lanchester, the obvious exception to any such observation, to the effect that literature has failed to engage with the current financial crisis). The Easter vacation has given me the opportunity, finally, to finish reading another attempt at an imaginative response to the current state of the world, Elfriede Jelinek's rein GOLD (2013), which reads the climatic confrontation of Wotan and Brünnhilde in Act 3 of Die Walküre through a prism of Wagner's revolutionary politics, lots of Marx and Engels and a bit of Freud.
The opening is great: "So, Papa had this castle built," says Brünnhilde, "and now he can't pay the mortgage. The same situation as in every second family." The great themes of the Ring are explicated in this new context, above all the sacrifice of love for money and power. "Love is a mistake!" says Wotan. "It dies, as it comes into being, just as capital dies, if it brings no more interest. Then it is eaten up, through itself, by itself, like love." Brünnhilde rages against the idiocy and perversion of the whole system, such as Fricka – promised to the giants as payment for building Valhalla – becoming "woman in commodity form, woman as commodity form." Wotan bitterly explains that this is simply how the world works, such that even god cannot stand against the sorcery of money; everything solid evaporates, everything holy is defiled…
Look, here you see the transformation of goods into money and the retransformation of money into goods. Sell, in order to buy. Something flows into the goods, something flows into the treasure, yes, the treasure also flows, it flows into the Rhine, but into it, the treasure, the hoard, flows something else, something incorporeal, spectral, that however on the other side is again completely normal, one just has to turn it around…
Not even profit is important, nothing is important, only the restless gains, the restless movement of profit, its restlessless, not to travel, but to increase. The capitalist becomes money. The possessor becomes his treasure.
I really wanted to like this book; how could a fusion of the best lines from the Communist Manifesto and Capital with the mythic power of Wagner's operas not be great? Well, for a start if it's presented through long stream-of-consciousness soliloquies that even Wagner would have cut drastically after the first couple of pages; by half-way through, the only things keeping me reading were sheer stubbornness and a feeling that this must be extremely good for my German. There's no narrative development to speak of, but I also got little sense of any intellectual development in the exchange of arguments; the book describes the ceaseless circulation of capital and its transformative power in terms as abstract as any work of economics, rather than bringing them to life or dramatizing their effects. Marx and Wagner can undoubtedly be mutually illuminating, but not just through having Wagnerian characters paraphrase bits of Capital – and in a work so utterly lacking in humour throughout, chucking in a reference to the Valkyries being replaced by a "BEAR, the Battlefield Extraction-Assist Robot" doesn't actually improve things.
As a reward for making it through to the end, I then started on a new Krimi (the usual way in which I seek to improve my German), Wolfgang Schorlau's Die blaue Liste (2003) – and was pleasantly surprised to encounter a much more engaging and suspenseful development of some similar themes. Georg Dengler, newly established as a private investigator in Stuttgart after resigning on a matter of principle from the BKA, is hired by Christine Stein to find out whether her father, an economics professor, is still alive – he had been confirmed killed in a plane crash in Thailand in 1991, except that he had phoned her from Bangkok airport to say that he'd missed the plane… Dengler quickly finds a connection to one of his old cases, the assassination a few months before the crash of the President of the commission responsible for managing the transition of East German industry to capitalism; this had been pinned on the Red Army Faction, and the suspected killer was shot dead while resisting arrest two years later, but it becomes clear that others had an interest in putting the two men out of the way – they were considering a radical alternative to privatisation, which went against the interests of West German, British and American concerns, including other members of commission. As one of them explains:
His ideas were dangerous, very dangerous. If his theory had been put into practice, it would have started a forest fire. We would never have been able to close down a single unprofitable business, because the people would have wanted to carry it on under their own direction… People with ideas, with ideals, are per se dangerous. Utopians are terrorists. Like the Taliban, or whatever those lunatics in Afghanistan with the beards are called. Man strives after money. That's the way he is; he thinks only of himself, perhaps of his children, but that's it. Some think that's a shame, but it makes him predictable. Stein wanted to do something for others. That made him completely beyond reckoning. How are you to talk to a man about business, who's worried about the welfare of humanity?
It's already become clear to the reader, through a (rather unnecessary) parallel narrative, that the assassination was in fact orchestrated by Germany's deep state, so there is little surprise when indications are found that the plane crash (which took out a whole group of Professor Stein's colleagues) was due to sabotage, nor when Dengler tracks Stein down to a hideout in Siena, and a group of professional killers, presumed again to be secret service, turn up to kill him. After the obligatory shoot-out, Dengler realises that they must have been betrayed by Christine Stein's partner, a banker, and this brings him to the final confrontation with Dillman, a powerful international financier whose villainous character was established by his appearance on breakfast television right at beginning of book arguing for drastic cuts in welfare spending.
"I would like to talk to you about money."
"About money? What money?"
"Money, yes… You see, money is a living thing." He fixed Dengler with immovable blue crocodile eyes. "It has needs, it suffers from hunger and thirst, and experiences emotions, just like any other creature."
The man is crazy, Dengler thought.
Dillman went on: "But money has a problem, which distinguishes it from humans and animals. It has neither arms nor legs, and above all it has no mouth with which it can speak and express its desires."
Dengler waited.
"Nevertheless it has these needs. And like any other species, first and foremost money wants to grow, to become more powerful and to multiply… How should money put its will into action?" the banker went on. "I assure you, it has an absolute will to survive, as strong as that of a lion."
Or a hyena, thought Dengler.
"The answer is simple… Money seeks out men, who can speak for it. Men, who put themselves as sensitively as possible into the being of money, who feel more than they know what it needs – the bankers… We put into words what money tells us to. The banker, you know, doesn't consider himself to be important. He is a servant, a servant of money. The more he empathises with the nature of money, the better he practices his business."
"And from time to time money commands you to murder or mass murder?"
"The things of which you speak, Herr Dengler, happened more than twelve years ago. At that time, money was completely out of control. The piece of meat that suddenly lay in front of its nose was too large, too raw. It couldn't hold back… An entire country, countless factories and workers, valuable property… just imagine that. Normally we control this creature. We make sure that everything follows the normal rules, that the laws are kept and so forth. After all, we are civilised men… But in the years after 1990 money was no longer under control…"
Besides his obligatory alcohol problem, messy divorce, estranged son and cultural quirk (a love of the blues of Junior Wells, acquired when hunting down another RAF terrorist), Dengler clearly has complicated relationships with both money and the system. He comes from a poor farming family; his father died when he was young, he saw his mother gradually having to sell off their cows and dreamed of gaining enough money to buy them back. His first relationship was with a medical student in Freiburg, who taught him basic Marxism at the same time as sex: "'The first thing you have to learn, my noble peasant warrior, is that capitalism has not always existed and will not endure for ever,' she whispered, and bit him softly in the earlobe." But she was committed to free love and to another relationship with a student radical, and so instead he joined the police. His search for Christine Stein's father was clearly driven by own unsolved cases and his sense that the entire system is corrupt, as well as by his feelings for her – and in the end he agrees with Dillman to keep everything quiet provided that nothing happens to Prof Stein. It's difficult to escape the sense that this simply replicates his original failure to pursue suspicions that the RAF man he arrested was actually being framed, and that this is going to come back and bite him – but for that I'm going to have to get hold of the next volume in the series.
This isn't the greatest Krimi I've ever read, nor even the best fictional account of the tangled relationship between left-wing terrorism and the German state (that remains Ulrich Ritzel's The Black Edges of the Embers, and I really must try to get on with my translation of that…). But it's undoubtedly unusual to find one that spends half a chapter expounding the benefits of worker cooperatives as a form of industrial organisation, and in which not only individual capitalists but the system of capitalism itself, its restless hunger for profit, are so clearly the enemy. It doesn't offer any more of a solution or an alternative approach than Jelinek does; the radical (well, relatively radical) Brünnhilde is put to sleep and imprisoned in flames, Wotan resigns himself to the way of the world although he foresees Götterdammerung, Dengler allows himself to be bought, fails to phone his mother and instead sets about chatting up his client. But where Jelinek seems to get caught up in the bewitching play of money and theory, Schorlau clearly maintains his anger at the way the decisions of the civilised people who think in such abstracts have real consequences…
Posted in Musings | Tagged economics, Elfriede Jelinek, Germany, literature, money, Richard Wagner, Wolfgang Schorlau | Leave a Comment