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Being Human U.K. Season One, Episode Five
Oh my goodness, this show keeps getting better and better. This episode opens with George asking what it is about that them, that leads people to drop of jars of jam, by way of apology, for writing pedo on the front door, and Annie announcing her decision to haunt Owen. George tells Annie that he understands why she wants to haunt Owen, but says that he does not want her to go. Annie replies, "I want to scare him, to make him beg and scream. It's not just about justice; it's more jagged than that." I am glad to see Annie stand up for herself but sad that it is happening after she is already dead. As we know women die from domestic violence daily but for them death is always the final assault.
At the funeral home, Herrick is holding court and rejoicing over the fact that Mitchell has decided to join them. Lauren is clearly not impressed by what is going on. She hints that there is plenty of room for storage and this of course implies their feeding habits.
At the hospital, Mitchell invites Herrick in through what looks to be a back door. I don't understand why Herrick needs an invite, when the hospital is a public building. In the elevator, Mitchell tells him about 41 year old Duncan Johnson, who has 5 weeks left to live, because he is dying of AIDS. When Herrick inquires about Duncan's profession, Mitchell tells him that he is an architect. Herrick then proceeds to introduce himself to Duncan, saying that he has a proposition for him. What dying man is going to turn down that offer?
Back at the house, George calls Owen to complain that the plumbing is on the fritz again, to get him to come over to the house.
Later, in the hospital cafeteria, Mitchell approaches Josie, a woman who he dated in the 60's. Though she knows that he is a vampire, she is still shocked to see that he has not aged a day. Mitchell tells her that he shares a house with some friends, and they reminisce about a weekend they spent together. When George interrupts them, Mitchell introduces him to Josie, but when George balks, Mitchell reassures him that she already knows all about them. George mumbles about talking later and leaves. Josie then tells Mitchell, "that was mean, you just outed him." Really? Outing is something that happens to GLBT people with disastrous results, it's not something that happens to imaginary werewolves, and the analogy is absolutely wrong and insensitive. It amounts to yet another example of using the language of the oppressed, to apply to the supernatural. Josie then goes on to tell Mitchell that she is dying of lung cancer, and that there is no hope for her.
Later that day, Owen shows up at the house. He walks into the kitchen, only to discover that the plumbing is indeed working. As he leaves the room, Annie is waiting for him. She says, "I am death. I am darkness, vengeance and fury, fire and blood, diamonds and bones, sapphire and steel. Confess Owen, confess." When she walks away from him, Owen taunts her asking , "hey Annie, is that the best you got?" As Annie stands there absolutely shocked, he laughs dryly. " I should have known that even death would not be a match for even one of your sulks," Owen says. He dismisses her and walks out of the door.
Back at the funeral home, Mitchell and Herrick are watching over the body of Duncan. Mitchell asks Herrick if he would consider talking to Josie. When Herrick learns that she used to be a dance teacher, he says, "not exactly an essential worker, but come the evolution, we will need to learn how to dance". Lauren overhears the conversation and when Herrick leaves, she tells Mitchell, "You shouldn't do that, let them take someone you care about." When Mitchell asks why not, Lauren replies,"they could become cruel. It changes you this life." Mitchell says, "It didn't change me", but Lauren answers, "yes it did, it just took longer." Duncan suddenly sits up, drawing a huge breathe, and as Mitchell rushes to comfort him, Lauren leaves the room.
Back at the house, Annie tells George about Owen's reaction to seeing her. She says, "It makes sense really when you think about it. We were expecting him to react like a sane person, even though this is someone who killed is fiancee, concealed it, and then rented out the crime scene." I feel it necessary to point out that the writers have fallen back on the criminally insane. We all know that people who are neurologically atypical, are far more likely to hurt themselves before hurting anyone else, and yet in the media, the insane violent person is what is most often depicted. This is absolutely disableist, because not only does it actively other, it creates unreasonable fear. Annie then decides that she is going to visit Janey, for fear that she will be next.
Mitchell arrives and interrupts the conversation. Annie tries to tell him what has been going on in his absence, but he clearly is not listening to a word she is saying. George asks Mitchell where he has been and then outright says, "You're back with them." Mitchell tells him that it is different and that no one is being forced. He is still angry about what happened with Bernie. He says humanity is stupid and cruel and that humans are really the monsters.
The next day, Herrick approaches Josie and says that it's a lot to take in, and that it's about there being another option. Mitchell tries to tell her that hospitals would be antiquated, and that this would end all famine and all war. Josie responds, "Being human means being mortal. It means dying. You can't rob people of that. It's a trick, Christ Mitchell just because they are handing themselves voluntarily it doesn't stop it being a con. You're offering something you have no right to. Of course people want eternal life. People want capital punishment, it doesn't make it right. Never a birth, never a death; that's no evolution, that's a full stop." She goes on to ask whether or not Mitchell's friends know about what he is doing, and when he says no, she tells him that this is why he got Herrick to approach her because he knew what she is going to say.
When Annie shows up at Janey's apartment, Janey faints immediately. Annie sits down to wait, but when Janey wakes a second time, she goes running upstairs and hides in the bathroom. Annie follows her up the stairs and tells her that Owen killed her. Janey immediately denies it, but Annie tells her that this is why she is still there, and that she cannot let it go. Annie says, "If you tell me that he has never laid a finger on you and never not even for a second made you feel scared then I'll walk away right now." When Owen comes in the house, Janey goes running down the stairs into Owen's arms, saying that she is going mad. Owen looks at Annie, and pretends not to see her, as he goes on about how he cheated on Annie, including at their engagement party. He says that Janey is just having a reaction to the affair based in guilt, and that Annie would love her reaction, because she was always bitter about people who were smarter than her. Tears roll down Annie's face, as Owen tells Janey that he can't see anything.
In the hospital, Josie pulls George aside, and tells him that the vampires are mobilizing, and that they are making it sound all new labour, but that it's a coup. Josie asks if George is a wizard and George tells her that it's ridiculous. He asks how many people are they planning to recruit, how bad is this"? Josie says, that Herrick told her, "no one gets left behind."
At the funeral home, Seth asks why Bristol is the staging area for what they are doing, and Mitchell tells him that the first vampire to have a double life lived here. Apparently, he was a slave trader and ran for parliament. When Mitchell asks if anyone had ever told him the story, Seth tells him that they've only ever talked about him. and the things that he has done. Mitchell walks around back and finds a door with bloody fingerprints on the frame. When he bursts into the room, he learns that the vampires have been holding humans against their will and feeding on them. Herrick walks into the room saying, "we were going to tell you, but like so much in life, it all comes down to timing."
At the house, George rushes in, and he is barely coherent, as he tries to tell Annie that Mitchell is in trouble. He asks her if they should take crosses and garlic but when she is clearly unresponsive George asks her to chip in. Annie finally says, "I can't, it's beaten me. Owen's won, I can't touch him. He just keeps on killing me." George tell her that she needs to stand up, and help, and that if she can't do this, then she has done to herself, the one thing that Owen could never do, because then she has finally died.
At the funeral parlor, they are met by Seth. When George tries to move around Seth, Seth grabs him by the neck. Annie then hits Seth with a chair, but he is not down for long. It's only when Seth grabs George's shirt, ripping it open to reveal his star of David, that Seth is repelled enough for George to punch him. As they try to figure out exactly what happened, George says, "That was pathetic, we were like the worlds gays legers" Really? First, we have the use of the term "coming out," and now we have gay as a pejorative. The writers still have not been arsed to include a GLBT character, and so every time you see either appropriation, as with the coming out comment, or gay used pejoratively, it works to normalize homophobia and affirm heterosexual privilege.
Mitchell then confronts Herrick, saying that what was going on in the room, did not look voluntary, but Herrick tells him that evolution is never achieved without blood being spilled. "This is the natural churn of history. We are not good or bad, we are just what happens next". Herrick tells Mitchell that he does not want 100% conversion, and that there will always be a percentage of humanity kept alive, because they have to eat. Mitchell responds saying that this is smoke and mirrors, and that he can't do this. Herrick tells him that he can't leave, but Mitchell is worried about his friends.
George and Annie burst into the room, and the three make their escape, with Herrick and his goons fast on their trail. They get cornered by Seth, and George starts waving his star of David, only to be told that there are too many of them for that to work this time. Lauren sneaks up behind Seth and stakes him saying, "well he won't be staring at my tits when he talks to me anymore," and the four of them run out of the building. Lauren asks where they are going, and Mitchell tells her that they can run and hide, but she says that she cannot run from herself. Lauren asks Mitchell to take her out of this world, because he brought her in. Lauren says that the person she used to be is almost gone, and now she wants Mitchell to save her. Mitchell cradles her in his arms and then stakes her. As she dies, Lauren says, "someone needs to stop him Mitchell, he wants to tear everything down."
Back at the house when George hands Mitchell a tea, and Mitchell thanks him for coming to his rescue. Owen arrives at the house saying, "hi honey I'm home. I got your message." When he sees George and Mitchell, he snarks about them being Annie's back up singers. He asks, "is the point of all this to make me feel guilty? It won't work. Here's the thing that they never tell you, when you kill someone and you're away with it, you're bullet proof, you're a God". Annie answers, "there's a question you haven't asked yourself yet. If I exist what else does? You think that you're the big bad wolf, but you should see George on the full Moon. You think you're a cold blooded murder Mitchell was killing people eighty years before you were born. Don't you get it yet, I am just the tip of the iceberg; I'm good cop. Look at you so pleased with your grubby little murder, fact is when it comes to pure naked evil your an amateur. I want you to know that you've wandered off the path. This is where the wild things are. We've got your scent now and we can follow you to the end of the world. Now I'm going to tell you something that only the dead know."
Owen rushes out of the house terrified and hearing voices. George asks what she whispered to him and Annie simply says, "I told him a secret". Owen finally wanders into a police station, and says that he killed his girlfriend, and that vampires and wolves are coming to find him now.
Back at the house, they discuss the meaning of closure, when suddenly, Annie's door appears. They share a tearful goodbye, and just as Annie puts her hand on the door knob, someone starts to bang on the front door. When Mitchell goes to answer the door, Herrick slams a stake into his chest, demanding to be invited in. Annie comes running, but George tells her to go, and that he can take care of Mitchell. He picks up the phone, saying he will get Mitchell to the hospital, and yells at Annie to go, because this might be her last chance.
I don't know about you, but I loved learning more about vampire history in this novel. I enjoyed that Annie threw off the mantle of victim, it just saddens me that she had to be prodded to do by George and then later backed up by George and Mitchell. It would have been nice if she had been able to handle this episode on her own. There were a lot of complex ideas being wrestled with in this episode.
Posted by Renee at 1:00 PM
Labels: 4 Fangs, Being Human UK, domestic violence, vampires, Werewolves
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// An interface encapsulating the logic for emitting a realization as a Dockerfile.
package emit

redpajama_set_name: RedPajamaGithub


Despite being 5.4, this is a very cool climb, and a great way to cap a day on Cathedral Peak. When you look down on it from the summit of Cathedral, you'll know you have to do it.
Climb Cathedral Peak and downclimb a short ways until you can easily traverse to the notch between Eichorn Pinnacle and the summit. Rope up and do a horizontal pitch with lots of exposure but easy climbing. The climb starts here and goes up and to the right.
Normal rack, nothing bigger than 2-3 inches.
Joe and Gino atop Eichorn. Thu 23 Aug 2012.
Eichorn Pinnacle as seen from Cathedral Peak.
While the route itself is unmemorable, the summit is well worth the effort.
Due to the wandering nature of the route, rope drag will be heinous if you clip the first pin or place much gear.
I disagree entirely that the climbing is uninteresting. I suppose if it were a route at some junky local crag, I'd maybe agree?
Not only is the climbing quite thoughtful for the grade, it's on quality rock that is quite different from the rock you just climbed on Cathedral. Since you can't preview the route from the approach (it's around the "backside" of the pinnacle) it's a series of small surprises from the end of the traverse all the way to the summit. Even the traverse is fun, taking you quickly from zero exposure to hundreds of feet of air underneath you.
I found that other than the three well-placed fixed pins, I only needed one piece of gear for the whole route.
From the summit of Eichorn, you get an unparalleled view of Cathedral, and other climbers experiencing the summit you just came down from. The view is phenomenal. Better than the view from the summit of Cathedral. Both my partner and I agreed that Eichorn was the highlight of the day.
Even if everything else about it was mediocre, it's a pinnacle... What more reason do you need to climb it?
I agree with Chris. The setting is fantastic, the climbing is steep for the grade, the pro looks absent but is 100% there.
Move towards the route from the traverse from Cathedral.
Set a belay at the beginning of the hand traverse. There is a good body pod as well as a crack for ~0.75" or 1" cams.
Lead out the hand travserse (5.0 but very exposed) to either the crack below the aplite band (harder) or 10' further to the 'stance' and corner for an easier start. You'll need to protect for your 2nd and sling them really long. The hand traverse takes 1" to 2.5" or so.
Lead up the corner to the aplite band past the 3 pitons. If you want to back up the pitons, an orange alien works well.
Continue up ~25' above the aplite band slightly right to ridgeline. You can build a nice gear belay here. This is the 'optional' belay indicated in the supertopo.
Assuming you slung everything long (24"+), the rope drag is totally fine. You will need to watch the tension on your 2nd during the hand traverse of course.
Then you can continue to the top in a short pitch without rope drag.


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Western Wall Tunnel
Destinations in Jerusalem
The Western Wall Tunnel is a tunnel exposing the Western Wall from where the traditional, open-air prayer site ends and up to the Wall's northern end. Most of the tunnel is in continuation of the open-air Western Wall and is located under buildings of the Muslim Quarter of the Old City of Jerusalem. Since the majority of its original length of 488 meters (1,601 ft) is located today underground. The tunnel allows access to the remainder of the Wall dated to the Herodian Period.
The History of the Western Wall Tunnel
In 19 BCE, King Herod undertook a project to double the area of the Temple Mount in Jerusalem by incorporating part of the hill on the Northwest. In order to do so, four retaining walls were constructed, and the Temple Mount was expanded on top of them. These retaining walls remained standing, along with the platform itself, after the Temple was destroyed by the Romans in 70 CE.
Since then much of the area next to the walls became covered and built upon. Part of the Western Wall remained exposed after the destruction of the Temple. Since it was the closest area to the Temple's Holy of Holies that remained accessible, it became a place of Jewish prayer for millennia. Here is a link to their website for more info!
Excavations in the Western Wall Tunnel
British researchers started excavating the Western Wall in the mid 19th century. Charles Wilson began the excavations in 1864 and was followed by Charles Warren in 1867–70. Wilson discovered an arch now named for him, "Wilson's Arch" and is above present-day ground level. It is believed that the arch supported a bridge that connected the Temple Mount to the city during the Second Temple Period. Warren dug shafts through Wilson's Arch which are still visible today.
In This Photo: Wilson's Arch
After the Six-Day War, the State of Israel began excavations aimed at exposing the continuation of the Western Wall. The excavations lasted almost twenty years and revealed many previously unknown facts about the history and geography of the Temple Mount. The excavations were difficult to conduct, as the tunnels ran below residential neighborhoods constructed on top of ancient structures from the Second Temple Period.
Points of Intrest in the Western Wall Tunnel
The tunnel exposes 300 m of the wall's total 445 m, revealing the construction methods and the various activities in the vicinity of the Temple Mount. The excavations included many archaeological finds along the way, including discoveries from the Herodian period (streets, monumental masonry); sections of a reconstruction of the Western Wall dating to the Umayyad period, and various structures dating to the Ayyubid, Mamluke, and Hasmonean periods constructed to support buildings in the vicinity of the Temple Mount.
In This Photo: The Western Stone the Biggest Stone of the Wall.
Western Wall Tunnel: Warren's Gate
"Warren's Gate" lies about 150 feet (46 m) into the tunnel. This sealed-off entrance was for hundreds of years a small synagogue called "The Cave", where the early Muslims allowed the Jews to pray in close proximity to the ruins of the Temple. Rabbi Yehuda Getz built a synagogue just outside the gate since today it is the closest point a Jew can pray near to the Holy of Holies, assuming it was located at the traditional site under the Dome of the Rock.
In This Photo: The Arch to the Right Belongs to Warren's Gate.
Western Wall Tunnel: Hasmonean Channel
Beyond the northern end of the Western Wall, remains were found of a water channel that originally supplied water to the Temple Mount. The exact source of the channel is unknown, though it passes through an underground pool known as the "Struthion Pool". The water channel was dated to the Hasmonean period and was accordingly dubbed the "Hasmonean Channel".
Another point of interest is The biggest stone in the Western Wall, often called the Western Stone, is also revealed within the tunnel, and ranks as one of the heaviest objects ever lifted by human beings without powered machinery. The stone has a length of 13.6 meters (45 ft), the height of 3 meters (9.8 ft), and an estimated width of between 3.5 meters (11 ft) and 4.5 meters (15 ft); estimates place its weight at 570 short tons (520 metric tons)!
Touring Holy Jerusalem
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Atlit Castle
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Beit Shean National Park
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Church of All Nations
The Church of All Nations (Church of the Agony) in Jerusalem enshrines the bedrock where Jesus is said to have prayed before his arrest.
Ein Kerem Neighborhood
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Church of the Visitation
The Church of the Visitation in Ein Karem honors the visit paid by the Virgin Mary, to Elizabeth, the mother of John the Baptist.

redpajama_set_name: RedPajamaCommonCrawl


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Samurai Marathon
Orange Mountain Music
Conducted by Richard Hein
The City of Prague Philharmonic
Formats: CD, Digital
Samurai Marathon (Samurai marason) (2020)
1. New World - Yankee Doodle 1:57
2. Mishima: November 25: Morning (excerpt) 1:52
3. Naqoyqatsi: New World (excerpt) 0:48
4. Symphony No. 3: Movement IV (excerpt) 1:50
5. The Fog of War: 100,000 People (excerpt) 2:12
6. Mishima: Kyoko's House (excerpt) 2:09
7. Mishima: Epilogue (excerpt) 1:09
8. Mishima: 1937 Saint Sebastian (excerpt) 1:48
9. Symphony No. 2: Movement I (excerpt) 1:55
10. Violin Concerto No. 1: Movement III (excerpt) 4:00
11. Satyagraha, Act II, Scene 3: Protest (excerpt) 1:33
12. Mishima: Epilogue (Brass Version) (excerpt) 0:43
13. Mishima: Temple of the Golden Pavilion (excerpt) 0:58
14. The Fog of War: Return from Vietnam 1:31
15. Symphony No. 8: Movement III (excerpt) 2:18
16. Akhnaten: Funeral of Amenhotep III (excerpt) 4:15
Orange Mountain Music presents the soundtrack to Bernard Rose's new film Samurai Marathon. The soundtrack is comprised of short excerpts of Philip Glass' music including music from Mishima, movements from Symphonies 2,3 and 8, Violin Concerto No.1, The Fog of War, Naqoyqatsi and the operas Akhnaten and Satyagraha. These are new recordings of the music performed by the The City of Prague Philharmonic under the baton of Richard Hein.


text:
Athletics Communications Coordinator
Colorado State University Athletics
Full-time - Experienced
Collegiate Sports
Operations, Operations - Sports Information
The Athletics Communications Coordinator is responsible for assisting the communications staff in all facets of its operation for an NCAA Division I FBS program that sponsors 16 men's and women's sports. The position works with a variety of sports, including football, but serves as the primary communications/ media relations contact for 4-5 assigned sports. Position also assists with other Communications department duties as determined by need.
Please follow the link below to apply for this position
http://jobs.colostate.edu/postings/68638
Required Job Qualifications
Bachelor's Degree, preferably in journalism, public relations, communications, marketing, business or any other field related to duties and responsibilities
Minimum of one year of experience in athletics media relations, preferably at the intercollegiate level
Proficiency in desktop publishing software, including InDesign and Photoshop
Proficiency in StatCrew systems
Proficiency in website content management systems
Knowledge of appropriate NCAA regulations
Strong written and interpersonal communications skills
Ability to run an event from all aspects of media relations/communications needs and requirements
Willingness and availability to work nights and weekends and travel
Ability to multi-task, prioritize duties and meet deadlines
Ability to work well in a team environment with other staff members, coaches and student-athletes
Ability to work effectively with a diverse community and advance the Department's commitment to diversity and inclusion
Knowledge of appropriate NCAA rules and willingness to support the Department's commitment to a culture of compliance
Additional Salary Information: Salary is commensurate with experience and qualifications.
Internal Number: 201900607AP
About Colorado State University Athletics
The Colorado State University Department of Athletics sponsors 16 men's and women's intercollegiate sports and competes as a member of the NCAA Division I-FBS and the Mountain West Conference. The University is located in Fort Collins, Colorado, 65 miles north of Denver. More information on the University and its intercollegiate athletics program can be found at www.csurams.com and www.colostate.edu.
Athletics Events & Marketing Coordinator (10 month - no benefits) Hamilton, NY, USA
Colgate University Today
Assistant Athletic Director - Media Relations San Jose, California
San Jose State University Today


text:
Sleep, My Love is een Amerikaanse  film noir uit 1948 onder regie van Douglas Sirk. De film werd destijds in Nederland uitgebracht onder de titel Slaap des doods.</small>

Verhaal

Alison Courtland wordt in het midden van de nacht wakker in een trein. Ze weet niet meer hoe ze daar is beland. Al gauw blijkt dat haar overspelige echtgenoot iets te maken heeft met het vreemde voorval.

Rolverdeling

|-
|||Alison Courtland
|-
|||Bruce Elcott
|-
|||Richard W. Courtland
|-
|||Barby
|-
|||Charles Vernay
|-
|||Grace Vernay
|-
|||Dokter Rhinehart
|-
|||Jimmie Lin
|-
|||Haskins
|-
|||Rechercheur Strake
|-
|||Jeannie Lin
|-
|||Helen
|-
|||Daphne
|}

Externe link

Film uit 1948
Amerikaanse film
Film noir
Film van Douglas Sirk

redpajama_set_name: RedPajamaWikipedia


Lighting Mods for The Sims 2?
Besides, what do you think about that SweetFX thing? Apparently, it was made for The Sims 4, but can *possibly* be used with The Sims 3 and 2. Is it risky for me to try it on TS2?
What I often find helpful, is to place some lamps when it's inside in rooms with very few windows, or when it's dark out. Or before taking the shots, I use the 'sethour' cheat to set the time to the brightest hours of the day, say between 10 AM and 2 PM. Or when it's cloudy, and/or raining, I use whatever cheat (like Paladin's weather controller or the batbox) to adjust the weather and make it sunny.
And if all else fails, I might just play a little with the brightness and contrast settings on my monitor.
Of course, I could go looking for some mod to change the lighting, but that's just another mod that I would use only VERY sporadically, but which would take up some memory and processor time even when it's not needed. So that's a route I prefer NOT to follow.
Pretty sure those pictures are just heavily edited in a graphics program. Looks like they've increased the brightness and saturation to get that bright bright green and overall bright look.
BO, I think you're right, it's safer. Hence my question, I had a doubt.
Ok, Fansee'. I thought I could get the same look, within the game.
Like BO I use "setHour" for outdoor screenshots, to brighten up indoor screenshots I knock out a section of the outer wall but it only works if you have shadows turned off, if I want shadow to show once again like BO I use lamps.
As for editing pics like the one in your post, and the ones in the link, no way, the only editing I do is if there is a lot of blue sky, I use a cloud overlay to break it up. As far as I'm concerned what someone sees in your screenshots should be what they see in their game.


text:
/*global defineSuite*/
defineSuite([
        'Core/QuaternionSpline',
        'Core/Cartesian3',
        'Core/Math',
        'Core/Quaternion'
    ], function(
        QuaternionSpline,
        Cartesian3,
        CesiumMath,
        Quaternion) {
    "use strict";

    var points;
    var times;

    beforeEach(function() {
        points = [
            Quaternion.fromAxisAngle(Cartesian3.UNIT_X, CesiumMath.PI_OVER_FOUR),
            Quaternion.fromAxisAngle(Cartesian3.UNIT_Z, CesiumMath.PI_OVER_FOUR),
            Quaternion.fromAxisAngle(Cartesian3.UNIT_X, -CesiumMath.PI_OVER_FOUR),
            Quaternion.fromAxisAngle(Cartesian3.UNIT_Y, CesiumMath.PI_OVER_FOUR)
        ];
        times = [0.0, 1.0, 2.0, 3.0];
    });

    it('constructor throws without points or times', function() {
        expect(function() {
            return new QuaternionSpline();
        }).toThrowDeveloperError();
    });

    it('constructor throws when control points length is less than 2', function() {
        expect(function() {
            return new QuaternionSpline({
                points : [Quaternion.ZERO]
            });
        }).toThrowDeveloperError();
    });

    it('constructor throws when times.length is not equal to points.length', function() {
        expect(function() {
            return new QuaternionSpline({
                points : points,
                times : [0.0, 1.0]
            });
        }).toThrowDeveloperError();
    });

    it('evaluate throws without time', function() {
        var qs = new QuaternionSpline({
            points : points,
            times : times
        });

        expect(function() {
            qs.evaluate();
        }).toThrowDeveloperError();
    });

    it('evaluate throws when time is out of range', function() {
        var qs = new QuaternionSpline({
            points : points,
            times : times
        });

        expect(function() {
            qs.evaluate(times[0] - 1.0);
        }).toThrowDeveloperError();
    });

    it('evaluate without result parameter', function() {
        var qs = new QuaternionSpline({
            points : points,
            times : times
        });

        expect(qs.evaluate(times[0])).toEqual(points[0]);

        var time = (times[2] + times[1]) * 0.5;
        var t = (time - times[1]) / (times[2] - times[1]);

        var quads = qs.innerQuadrangles;
        var actual = qs.evaluate(time);
        var expected = Quaternion.squad(points[1], points[2], quads[1], quads[2], t, new Quaternion());
        expect(actual).toEqualEpsilon(expected, CesiumMath.EPSILON6);
    });

    it('evaluate with result parameter', function() {
        var qs = new QuaternionSpline({
            points : points,
            times : times
        });
        var result = new Quaternion();

        var point = qs.evaluate(times[0], result);
        expect(point).toBe(result);
        expect(result).toEqual(points[0]);
    });

    it('spline with 2 control points defaults to slerp', function() {
        points = points.slice(0, 2);
        times = times.slice(0, 2);

        var qs = new QuaternionSpline({
            points : points,
            times : times
        });

        var t = (times[0] + times[1]) * 0.5;
        var actual = qs.evaluate(t);
        var expected = Quaternion.slerp(points[0], points[1], t, new Quaternion());
        expect(actual).toEqualEpsilon(expected, CesiumMath.EPSILON6);
    });

    it('spline with 2 control points defaults to slerp and result parameter', function() {
        points = points.slice(0, 2);
        times = times.slice(0, 2);

        var qs = new QuaternionSpline({
            points : points,
            times : times
        });

        var t = (times[0] + times[1]) * 0.5;
        var result = new Cartesian3();
        var actual = qs.evaluate(t, result);
        var expected = Quaternion.slerp(points[0], points[1], t, new Quaternion());
        expect(actual).toBe(result);
        expect(actual).toEqualEpsilon(expected, CesiumMath.EPSILON6);
    });
});


The Department of Biotechnology, R.V. College of Engineering is organising its annual techno-cultural fest,Helix from 23rd to 25th November,2018. Helix is conducted by the students to spread awareness and promote the spirit of life sciences among students. There will be participants from different engineering, medical and BSc colleges in Bangalore.
Helix will contain a plethora of events,workshops and speaker sessions so that students get a greater exposure to biological,biotechnological and allied fields.


text:
What is a Vendor Risk Assessment?
A vendor risk assessment helps organizations understand the risks that exist when they use third-party vendors' products or services. Conducting a risk assessment is particularly important when a vendor handles a critical business function, accesses sensitive customer data, and/or interacts with customers.
The key to successful third-party vendor relationships is prevention. Consequently, organizations should exercise due diligence to ensure that their third-party vendor relationships are productive and risk-free.
A company should always conduct a vendor risk assessment when bringing on a new third-party vendor. However, an organization should also perform periodic vendor risk assessments to ensure its third-party vendors are keeping up with its quality standards and not introducing risks to the company, its customers, and investors.
When a company gives its third-party service providers access to its network, it also gives them access to sensitive corporate, employee, and customer data.
A vendor risk assessment is important because it allows an organization to better understand the risks posed by its third-party vendor relationships as any third-party risk is also the organization's risk. Common risks associated with third-party vendors include financial, cybersecurity, information security, operational, reputational and compliance risks.
If the networks of an organization's third-party service providers aren't secure, they can put that sensitive corporate information at risk. In that case, the company will be held accountable for whatever happens to that information.
Although a company can't entirely eliminate all the risks associated with its third-party service providers, vendor risk assessments help minimize the impact on the business.
An organization's goals for a vendor risk assessment should be to:
Identify any risks a third-party vendor may pose.
Evaluate whether third-party service providers can eliminate those risks.
Monitor the risks that can't be eliminated.
Assess the extent of the outstanding risks.
Determine whether it can accept those outstanding risks.
An organization's management should also establish a third-party vendor risk management program in conjunction with its third-vendor risk assessment program.
A third-party vendor risk management program is an organization-wide plan outlining the types of behaviors, access, etc., that an organization and its third-party service providers agree on. A third-party risk management plan should include information about the testing and insurance necessary to maximize the third-party vendor's ability to do its job.
The third-party risk management plan should also include a checklist of all the steps a third-party service provider has to follow. And the entire company has to buy into the third-party risk management process. In addition, management should perform due diligence to validate and verify that its third-party vendors meet the company's requirements.
The vendor risk assessment helps organizations vet their third-party vendors and enables them to continue to perform due diligence on those service providers.
To craft successful vendor risk assessments, management should:
Compare the list of third-party vendors from their accounts payable departments to their vendor lists to ensure they haven't left out any third-party vendors.
Once they have the lists from accounts payable, they should sort the third-party service providers into different groups based on the types of vendors they are, e.g., cloud storage providers, marketing agencies.
Understand the regulatory risk and business impact the third-party vendors present. The regulatory risk determines whether a third-party service provider is low, moderate or high risk. The business impact determines whether a third-party vendor is critical or non-critical to the company.
Rate each third-party vendor according to risk.
Assess third-party vendor relationships at the service or product level. To fully understand all the risks third-party service providers present, it's critical to complete a risk assessment on every service and every product each vendor offers.
Determine the due diligence requirements for the more high-risk and critical third-party vendors. For example, if a third-party service provider is high risk, consider performing more frequent monitoring and doing more in-depth due diligence.
Stay current with governmental and industry regulations and implement new guidance into third-party vendor risk assessments as needed.
Update senior executives and board members on any significant changes to the third-party risk assessments.
What are the 8 GDPR Rights of Individuals?


Welcome to Alfred Gera & Sons Limited's dedicated privacy notice for customer and patient complaints / reports.
Ensuring customer satisfaction and patient safety is of paramount importance for us and our business.
As an authorised distributor of medicinal products, Alfred Gera & Sons Limited (C 120) of 10, Triq il-Masgar, Qormi, Malta ("AGS"; "we"; "us"; "our") carries out safety monitoring and pharmacovigilance reporting activities. In that regard, we are legally and contractually obligated to report any adverse events communicated to us to the competent public authorities and public agencies (e.g. the European Medicines Agency (the "EMA") and/or the Maltese Medicines Authority (the "MA")) as well as to the product manufacturer. We also maintain records of the complaints, adverse events and other (adverse) incidents or reactions which are reported to us by customers, patients, healthcare professionals ("HCPs") and other individuals in connection with the products that we distribute (our "Activities").
Please refer to Section 2 to understand the meaning of some of the terms used in this Notice.
Your trust and privacy is very important to us, and we are wholly committed to protecting your personal data.
We process your personal data in an appropriate and lawful manner, in accordance with the Data Protection Act (Chapter 586 of the Laws of Malta) (the "Act"), as may be amended from time to time, and the General Data Protection Regulation (Regulation (EU) 2016/679) (the "Regulation" or the "GDPR").
This Notice aims to give you information on how we (AGS) collect and process your personal data in connection with our Activities. This Notice applies to all individuals (be it customers, patients or HCPs acting on behalf of a patient) who make or submit a complaint, enquiry or report to us, regardless of the mains of communication (i.e. whether by phone, e-mail, fax or telephone or even through the online form which may be electronically submitted to us through our Website). It extends to the information that we process in connection with any such report, whether that report concerns the reporter's own experiences or those of another person (for example, a report submitted to us by a HCP on behalf of his/her patient reporting an adverse event to a product which we have distributed).
This Notice supplements our other notices and privacy policies and is not intended to override them.
AGS, as defined above, is the controller and responsible for your personal data.
We have appointed a data protection contact point (DPCP) who is responsible for overseeing questions in relation to this Notice and for handling requests made by data subjects.
If you have any questions about this Notice, including any requests to exercise your legal rights (see below at Section 9), please contact the DPCP using the details set out below.
Please use the words 'Data Protection Matter' in the subject line. Our full details are as follows.
Postal address: 10, Triq il-Masgar, Qormi QRM3217, Malta.
Set out below are definitions of certain key terms which appear in this Notice.
"adverse event" means a noxious and unintended or unwanted response to the use of a medicinal product which has been distributed by AGS.
"personal data" means data relating to a living individual (i.e. natural person) who can be identified from the data (information) we hold or possess. This includes, but is not limited to, your name and surname, address, date of birth, nationality, gender, civil status, tax status, identity card number & passport number, contact details (including mobile and home phone number and personal email address), photographic image, bank account details, emergency contact information as well as online identifiers. The term "personal information", where and when used in this Notice, shall be taken have the same meaning as personal data.
"process" means any activity that involves use of personal data. It includes obtaining, recording or holding the data, or carrying out any operation or set of operations on the data including, organising, amending, retrieving, using, disclosing, erasing or destroying it. Processing also includes transferring personal data to third parties. The terms "processing" and "processed" shall be construed accordingly.
Note that personal data does not include information relating to a legal person (for example, a company or its registered address). Accordingly, the collection and use of information which relates to a legal person does not give rise to 'data controller obligations' at law. We will still naturally treat any and all such information in a confidential manner, in accordance with our standard practices.
When making a report to us about another individual (particularly, an 'adverse event report'), you warrant and confirm that you have obtained that individual's prior permission and authorisation to make that report and to provide us with his or her personal data, including any special categories of personal data (or 'sensitive personal data'). You must also ensure that this Notice, together with our other relevant privacy notices, are brought to that individual's attention so that he/she can review how his/her personal data may be collected and processed by AGS.
provide us with information (via a report) about an adverse event that you have experienced with regards to a product that was distributed or otherwise sold by us.
This may also include special categories of personal data about you.
We generally collect the following in connection with adverse event reporting.
Reports made on another's behalf.
Subject of an adverse event report.
Any annexed documents, such as lab reports.
Prior to and following any onward reporting, we (AGS) make every effort to remove the subject's identifiers from the report, in accordance with our policy and practice of only retaining anonymised records of these adverse event reports. Despite our efforts though, it is possible that the documents which we receive in connection with an adverse event report (e.g. a lab report) may contain details which allow for the identification of the subject. We fully recognise this, and hold and retain all such documents in strict confidentiality at all times and under appropriate security measures.
manage the adverse event and make efforts to prevent similar events from happening in the future.
whether the enquiry or complaint was resolved and, if so, the manner in which it was resolved.
The Activities are primarily driven by the need to monitor, detect, be made aware of and report safety information and any risks associated with products which we have placed on the marked, for reasons of substantial public interest and public benefit. We are also bound by legal and regulatory obligations to undertake safety monitoring and pharmacovigilance reporting, and to report to public agencies (including competent medicinal authorities).
Process in accordance with the public interest and any legal and regulatory obligations under European Union Member State laws and guidance, including Directive 2001/83/EC as amended, Commission Implementing Regulation (EU) No 520/2012 and the adopted good pharmacovigilance practices (GVP) Modules.
We will generally rely on 'compliance with a legal obligation', 'protection of your vital interests', 'legitimate interests' or a combination of either of them as the lawful basis for these processing activities described above: Article 6(1)(c), GDPR; Article 6(1)(d), GDPR and Article 6(1)(f), GDPR.
the processing is necessary for reasons of public interest in the area of public health, such as protecting against serious cross-border threats to health or ensuring high standards of quality and safety of health care and of medicinal products or medical devices (Article 9(2)(i), GDPR).
Note that pharmacovigilance laws require us to take records of every adverse event reported us in order to allow that event to be assessed and evaluated with other adverse events recorded about the particular product. As mentioned however, we make every effort to remove the subject's identifiers and anonymise these records.
manage disputes or issues with you.
We consider the above processing activities to be in our legitimate interest.
We may also share your personal data with third parties (including, but not limited to, third parties directed by you) or those who act on our behalf as processors for any of the purposes set out above in Section 5.
the manufacturer of the product (most relevant for cases of adverse event reports).
In such cases, those third parties would be independent controllers of your personal data and have their own separate data protection practices, policies and obligations at law.
On occasions, we may also need to share your personal data with our consultants and professional advisors, including pharmaceutical, legal and other expert advisors. Additionally, we also need to provide certain third party service providers with access to your personal data (namely, those who operate our software and IT systems). We require all of our third party service providers to respect the security of your personal data and to treat it in accordance with the law. We do not allow our third-party service providers to use your personal data for their own purposes and only permit them to process your personal data for specified purposes and in accordance with our instructions.
In the absence of an adequacy decision, we will use standard contractual clauses that have been approved by the European Commission.
In addition, we limit access to your personal data to those employees who strictly need to know that information in a professional capacity. They will only process your personal data on our instructions and are subject to a duty of confidentiality. All our employees have received appropriate training on data protection.
We will use and store your Personal Data in accordance with mandatory legal requirements governing storage and reporting of Pharmacovigilance related information. Such mandatory requirements oblige us to archive PV information which may include Personal Data at least for the duration of the product life-cycle and for an additional ten years after the respective medicinal product and medical devices has been taken from the market.
(i) Request access to your personal data (commonly known as a "data subject access request"). This enables you to receive a copy of the personal data we hold about you and to check that we are processing it in a lawful manner.
You may send an email to pv@alfredgera.comrequesting information as the personal data which we process. You shall receive one copy free of charge via email of the personal data which is undergoing processing. Any further copies of the information processed shall incur a charge of €10.00.
(ii) Right to information when collecting and processing personal data about you from publicly accessible or third party sources. When this take places, we will inform you, within a reasonable and practicable timeframe, about the third party or publicly accessible source from whom we have collected your personal data.
(iii) Request correction or rectification of the personal data that we hold about you. This enables you to have any incomplete or inaccurate data we hold about you corrected and/or updated, though we may need to verify the accuracy of the new data you provide to us. As mentioned, it is in your interest to keep us informed of any changes or updates to your personal data which may occur during the course of your business relationship with us.
(v) Object to processing of your personal data where we are relying on a legitimate interest (or those of a third party) and there is something about your particular situation which makes you want to object to processing on this ground as you feel it impacts on your fundamental rights and freedoms. In some cases, we may demonstrate that we have compelling legitimate grounds to process your personal information that override your rights and freedoms.
where you have objected to our use of your personal data, but we need to verify whether we have overriding legitimate grounds to use it.
(viii) Withdraw your consent at any time where we are relying on consent to process your personal data. This will not however affect the lawfulness of any processing which we carried out before you withdrew your consent. Any processing activities that are not based on your consent will remain unaffected.
We reserve the right to make changes to this Notice in the future, which will be duly notified to you. If you have any questions regarding this Notice, or if you would like to send us your comments, please contact us today or alternatively write to our data protection team using the details indicated in this Notice.


text:
Q: how to configure InAppBrowser on phonegap for Blackberry how to configure InAppBrowser on phonegap for Blackberry. Is there any alternative plugin available for blackberry?

A: Yes, you can try out the ChildBrowser plugin: https://github.com/phonegap/phonegap-plugins/tree/master/BlackBerry/ChildBrowser

A: If you are using BB10 and developing with WebWorks then you don't need any phonegap plugins. BB10 and WebWorks has a built in childbrowser. You can just open it with window.open.

redpajama_set_name: RedPajamaStackExchange


AT JEWISH BEHEST, Canadian Courts recently declared the National Alliance's educational and organizing program to be "against Canadian public policy," effectively finding us guilty of thought crimes — even though the Alliance has never been charged in Canada with any crime whatsoever, nor has evidence ever been presented, defenses mounted, or arguments heard. That judge then proceeded to overturn former Alliance member Dr. Robert McCorkill's will, and canceled his bequest to our organization, valued at several hundred thousand dollars. The Jews who engineered this theft may end up regretting their dishonorable deeds.
"This case is crucial for freedom of speech and freedom of beliefs and for property rights in Canada," said Paul Fromm, Director of the Canadian Association for Free Expression (CAFE), speaking on behalf of the National Alliance.
Such "hate"! One thing the anti-White Jewish advocacy groups don't seem to grasp is that the Alliance's loss of this fight in Canada sets a most dangerous legal precedent for property rights for everyone in Canada — including even Jews. The hatred against goyim found in the Jew's Torah and Talmud, for example, could be trotted out in court — just as our Handbook was — to judge the character of Jewish beneficiaries and to prove that B'nai B'rith, for but one example, is a "hate group," and thus unworthy, according to Canadian public policy, to receive bequests from testators.
And when the Lord thy God shall deliver them before thee; thou shalt smite them, and utterly destroy them; thou shalt make no covenant with them, nor shew mercy unto them. Neither shalt thou make marriages unto them; thy daughter thou shalt not give unto his son, nor his daughter shalt thou take unto thy son. But thus shall ye deal with them; ye shall destroy their altars, and break down their images, and cut down their groves, and burn their graven images with fire… thine eye shall have no pity upon them. But the Lord thy God shall deliver them unto thee and shall destroy them with a mighty destruction, until they be destroyed.
Despite the unjust outcome of this case, we will continue our Alliance-building.
The intent of the law of wills, at least in the U.S., is to fulfill the wishes of a dying person, not go against those wishes. No matter the law in Canada, the immoral and unethical action is outrageous–denying a dying man's wishes because the government and non-government groups and individuals do not agree with the religion/philosophy/politics of those to whom he wants to leave his money. It is not a just, right or good thing that is being done in Canada. I'll say it again: It is immoral and unethical. And, it is evil.
Right, It IS immoral, unethical and evil. The rigged court systems ARE just that, in many cases. The late Dr. McCorkill should've known that. And subsequently, Whites should also know that and plan accordingly.
As a septuagenarian, I am gravely concerned with this case.
Once again, this demonstrates that courts are not working for Whites' interests, including probate court. If the bulk finances of Dr McCorkill's estate were exclusively in Gold, i.e. bullion, stocks and shares – those could have been delivered to the NA 10 days after his death with no court involvement. This is important because the bequest is between the testator and beneficiary, no one else.
More White families need to avoid courts and their usual suspects, in post death activities to transfer estates.


Constantin Bejenaru, (11-0 3KO'S), Brooklyn, NY weighed in at 198.3, while opponent and fellow unbeaten New Yorker Stivens Bujaj, (16-0-1 11KO's), NYC, NY, weighed in at 197.5, in a 10 round Cruiserweight battle for the vacant WBC International and Continental Americas titles in a bout televised live on the Showtime network from The Omega Product Event Center in Corona, CA. The bout is part of the popular ShoBox series.
This will be the second appearance on ShoBox for Bejenaru who scored an impressive 8 round decision win over heralded and undefeated Russian prospect Alex Zubov on April 15th of this year. Bejenaru dominated the fight with great speed and precision punching.
The second Star Boxing fighter to fight this Friday is Philadelphia's Raymond Serrano, (21-3 9KO'S) weighing in a fit and ready 146.6 as he faces undefeated Oklahoma City, OK prospect Alex Saucedo, (22-0 14KO's who tipped the scales at 145.4) in an 8 round Welterweight matchup from the Treasure Island Casino in Las Vegas, NV. The bout will be televised live on Unimas.
Both bouts are Friday, November 4th, and both bouts will be televised live. The Bejenaru-Bujaj fight is co-promoted by Joe DeGuardia's Star Boxing and Banner Promotions. The Stivens-Serrano fight is co-promoted by Joe DeGuardia's Star Boxing and Top Rank.


text:
Defying Age
Planning A Family
Your New Baby
DK Books
Home News There's a new reason for the low uptake of vaccinations
There's a new reason for the low uptake of vaccinations
Vaccination rates in the UK and Europe continue to fall. In Britain, take-up of the MMR vaccine has fallen for four years in a row. It could even dip below 90% for the first time since the scare in the early 2000s which linked MMR to autism, false though it was, and still is.
However, fraudulent links between the vaccination and autism led to droves of parents preventing their children from being given the vaccine.
The World Health Organization reported 41,000 cases of measles in Europe in the first half of 2018. There was also a further fall in vaccination rates, although that's probably due to a more complicated set of factors as there's been a fall in nine other major vaccines too.
According to Lynne Elliot, chief executive of the Vegetarian Society, the use of pork gelatine in vaccines and medicines could be putting people off getting the protection they need.
She said there's a demand for vegan and vegetarian alternatives to common medicines, so that people didn't feel conflicted about using them. "It is disappointing that so many medicines and vaccines are still using animal ingredients in their formulation," said Lynne.
Gelatine is used in many medicines and as a stabiliser in vaccines, ensuring that they remain pure while being transported and stored. However, changing the stabilisers – or any ingredient in a medicinal product – entails going back to square one and that could take years.
In Britain, the most commonly affected vaccines are the nasal flu vaccine, a shingles vaccine and the measles, mumps and rubella (MMR) vaccine. But the latter does have a non-gelatine alternative.
Jewish groups have said that the use of such products doesn't violate their religious laws, but Public Health England accepted that some Muslim communities wouldn't consider them halal.
The Muslim Council of Britain said the vaccines would be allowed only if people's lives were in jeopardy.
Ms Elliot is quick to emphasise that, while the Vegetarian Society was calling for a move away from gelatine, it wasn't recommending that people shun vaccination.
"Many people will be conflicted about the idea of having to take non-vegetarian medicines, and some will find it upsetting," she said.
"However, people should not put themselves at risk. They should take the medicines and vaccines they need, even if there are no vegetarian alternatives.
"But vegetarian and vegan versions of all medicines are needed."
Homeopathy is a threat to public health and confuses people about vaccinations 17th January 2020
If obesity was a 'disease' would it help weight loss? 14th January 2020
Time to stop excuse that we've no time to exercise 13th January 2020
Great steps made towards removing the stigma of HIV 10th January 2020
How an early retirement could speed up dementia 7th January 2020
28 years ago I was pregnant with my first and only child. Your book travelled with me through conception to birth. I found it informative and a huge help. Now I am thrilled at the prospect of our first grandchild. I took my daughter to Waterstones to purchase a book on pregnancy from a blogger Continue Reading
Jan Greenwood
Conception (13)
Defying Age (7)
Family Health (9)
Healthy Pregnancy (5)
Planning A Family (8)
Your New Baby (12)
Copyright © 2019 Miriam Stoppard Lifetime Ltd


text:
A Tale of Two Suzannes: À nos amours (1983) and Suzanne (2013)
Peter Hourigan
Interview with Albert Birney & Kentucker Audley
Lau, Kar-leung
Wavelengths at the 2016 Toronto International Film Festival
Conversations with Directors: An Anthology of Interviews from Literature/Film Quarterly edited by Elsie M. Walker and David T. Johnson
Four Nights with Anna
Mauritz Stiller on DVD: Sir Arne's Treasure; Gösta Berlings Saga; Erotikon (Kino DVD)
The decade around 1920 in Swedish cinema is almost always called its First Golden Age, a period dominated by two directors, Mauritz Stiller and Victor Sjöström. Both were directing films by 1912 and, within about twelve years, their reputations were international, meaning both were briefly swallowed into the American film industry.
Sjöström was more successful there than Stiller. As Victor Seastrom, he made at least nine films, including two enduring works, The Scarlet Letter (1926) and The Wind (1928). Most of the rest are lost, including all but nine minutes of a film with Greta Garbo (The Divine Woman, 1928, available on DVD as an extra on the Garbo box. (1))
As sound came in, he returned to Sweden for only two more films, apart from a deeply moving performance in Ingmar Bergman's Smultronstället (Wild Strawberries) in 1957, during Sweden's New Golden Age of cinema, and three years before his death in 1960 at the age of eighty.
Mauritz Stiller did not have a successful Hollywood career. Only two of his films appear to have been completely his own (The Woman on Trial and Hotel Imperial, both 1927 and both with Pola Negri). He returned to Sweden and died there in 1928, aged just 45. He left behind in Hollywood his protégé, Greta Garbo.
So, Stiller and Sjöström as directors dominate most writings about this first Swedish Golden Age. But there were at least two other Swedes who made significant contributions to this first period and three recent Region 1 DVD releases from Kino in U.S. allow us to start to assess their importance.
Selma Lagerlöf was a novelist, born in 1858. Her first novel, Gösta Berlings Saga, was published in 1891 and was immediately successful. It was set in the rural area of Värmland, where she was born. In 1909, she became the first woman to win the Nobel Prize for Literature. Her works provided the source material for many films. Sjöström made five films from her writings, including Körkarlen (The Phantom Carriage, 1921). Stiller made three, including two represented in these DVD releases: Her Arnes pengar (Sir Arne's Treasure, 1919) and Gösta Berlings Saga (1924).
Other filmmakers to adapt her material include Gustaf Molander. He was scriptwriter for Stiller on several films, including two included in this release, Gösta Berlings Saga and Erotikon (1920). In his own right, he directed three films from her books. Douglas Sirk filmed one of her works in German in 1935 as Das Mädchen vom Moorhof. Julien Duvivier made a French remake of The Phantom Carriage in 1939 (La Charrette fantôme). There is a Japanese animated series based on her internationally known book, The Wonderful Adventure of Nils (Nils no fushigi na tabi, Hisayuki Toriumi and Masami Anô, 1980), with the most recent work being Bille August's 1996 Jerusalem, made for both cinema and television release.
Threading through this same period was the cinematographer, Julius Jaenzon, sometimes credited as J. Julius. He photographed 16 films for Sjöström, including The Phantom Carriage. For Stiller, he photographed 24, including these two adaptations from Lagerlöf. Especially in Gösta Berlings Saga, his work is arguably the most important enduring element. His assistant, Gunnar Fischer, became one of Ingmar Bergman's main photographers.
Gösta Berlings Saga is epic in length at just over three hours and was shown in two parts on its release in Sweden in 1924. The word "Saga" in the title can lead to expectations of a highly dramatic epic story. It's not. It has been known in English as The Atonement of Gösta Berling and The Story of Gösta Berling.
Berling (Lars Hanson) is certainly one of the dominant characters, a young parson whose heavy drinking results in the parishioners calling in the Bishop. He saves his position with a fiery sermon, but senses that God had mocked him, and he leaves his parish to wander the countryside.
This took place about 1820 in a distant parish in western Värmland.
It was the first misfortune that befell Gösta Berling; it was not the last.
Young horses who cannot bear the whip or spur find life hard. At every smart they start forward and rush to their destruction, and when the way is stony and difficult, they know now better expedient than to overturn the cart and gallop madly away. (2)
The story is developed from the incidents that happen as he wanders around Värmland. He fetches up at Ekesby, a manor house ruled over by a woman who lets a dozen or so Falstaffian characters occupy a wing of the house.
Men lacking purpose – knaves, noblemen and former officers. Their past may be shady, but all were knights of adventure, of the goblet and of gallantry. (Intertitle.)
After a scenic introduction to Värmland, Stiller starts his film with these knights. Here we first meet Gösta, as the knights celebrate Christmas. But they must welcome a thirteenth guest, a spectre who has a devilish compact with the mistress of Ekeby, to provide him with a new soul each year!
This scene, with its overtone of religious mysticism, Shakespearian low comedy and good-natured pranks, works as an effective introduction to Gösta, the knights and the manor of Ekeby. The teasing deception works on us as effectively as on most of the knights, and lets us identify with Gösta's youth, sense of fun and self-loathing.
It also showcases Julius' stunning cinematography. A low-angle takes in the old, panelled room, cluttered with furniture and bric-a-brac. The ceiling is also panelled. A chair in the foreground and a table in the middle of the room give depth to the composition, with light probably from a window hitting and highlighting a chair back, the fireplace, a spot on the wall. When the knights enter through a door at the back, a new source of light re-models the volume of the room, animating this first dramatic location. The camera doesn't move, but the scene is alive with the movement of the knights and the shifting masses of light, as their movement brings up new reflections and refractions. Over the scene, and almost two decades before Greg Toland's work on Citizen Kane (Orson Welles, 1941), the heavy presence of the ceiling weighs on the knights.
And then, Stiller moves into a flashback to let us know how Gösta finished up with this rabble of pompous old men. By doing this, he is rearranging – and improving – Lagerlöf's structure. She starts with Gösta's departure from his parish in disgrace. Despite her Nobel Prize and the immense popularity at the time, the novel is today very heavy going. It comes across as a collection of events and incidents often with no great cohesion – except that they happen in Värmland and do build up a mosaic of impressions of this region. But dramatically or psychologically they do not have a cumulative effect. At times, she diverts completely from Gösta and for events that do not have a dramatic pay-off later in the story.
Lagerlöf's style is also dated, with enough anthropomorphism to last a decade. A spring flood is described as though each little ripple of water has decided it wants to break free.
Now these wild, excited waves, maddened with their new found liberty, were rushing to storm the old breakwater! Hissing and tearing at it, they hurled themselves high against it and then fell back as if they had hurt their white crests. They made a splendid storming party. They used huge pieces of ice as shields, they built the floating beams in to a battering-ram, they bent, broke, and beat against the poor breakwater till suddenly it seemed as if some one shouted to them, "Take care, take care!" (3)
This becomes tiresome over many pages.
Gösta becomes involved with several women and, through these relationships, he has to learn the nature of true love, as understood by a romantic 19th Century. Obviously it also has to result in his redemption and the regaining of his faith. In Lagerlöf's novel, these women are mainly ciphers, characters not drawn with the psychological realism we would expect. One is the Italian countess. She has come to this region after a sudden marriage to Count Dohna (Torsten Hammarén), when he was on a visit to Italy. Gösta becomes her tutor. Events lead to the Count exploiting a loophole in the way the marriage was performed to cast her off. And it is with her that Gösta ultimately finds true love. But the manipulating hand of the dramatist seems more relevant here than emotional truth.
Stiller does not completely overcome these problems in his source material, but the structure of the film is tighter and more cohesive than the novel. Even so, characters are introduced, seem to vanish from the storyline, only to return when we'd almost forgotten them. Perhaps we notice this most in the character of the Countess, because she is played by Greta Garbo, in the performance that effectively led her to Hollywood by way of G. W. Pabst's Die Freudlose gasse (Joyless Street, 1925). This subsequent fame today brings an almost unbalanced expectation and scrutiny to the role. There are effectively only three episodes in which she appears, one only in the first part and then several times in the second half of the second part.
Garbo's face is heavier than in her later films and bright front lights minimise those legendary cheekbones. But Julius frequently lights her also from behind, with her long hair piled up on her head, glowing in the light. When the Countess confesses, "I have given my heart to another", she is dressed in white, while her simpleton husband, his mother and her eventual benefactor are in dark clothes. In the dark-panelled room, Stiller and Julius design a play of light and shade, encapsulating her integrity and honesty.
Lars Hanson plays Gösta Berling and is well cast. His matinee-idol good looks also took him to Hollywood and a brief career in late silent films, including Sjöström's famous works, The Scarlet Letter (1926) and The Wind (1928), both opposite Lillian Gish. He gives the film a strong centre, in a strong ensemble.
The locale of Värmland is also essentially a character, established in the opening title card: "Oh glorious Värmland – with your shimmering lakes and blue mountains – your dense forests and foaming streams." Apart from the various interiors, many scenes take place in the open, including many at night and in winter. Numerous events take place in genuine exteriors, with Julius' lighting crisp, sharp and beautiful, without resort to day for night. A shaft of light across the ice at night is more powerful than a blue tint across a scene shot at midday. A climax in Part 2 is a flight across the ice, at night, pursued by wolves. This does include studio shots intercut into the genuine night shots, but the tight editing, fast travelling shots and strong sense of movement are exhilarating. Little allowance needs to be made for the age of the film at these moments.
Stiller made Sir Arne's Treasure in 1919, five years before Gösta Berlings Saga. It was the first of his three adaptations from Lagerlöf. (The other was Gunnar Hedes Saga, 1923.) Set in 16th Century Sweden, the slim novella was published in 1904. Three Scottish mercenaries are trying to return to their home. As they wander through the harsh wintry landscape, they attack the home of an ageing vicar, Sir Arne. The household is pillaged and burnt, and all members of the household apart from one poor maid.
Plot points hinge on Lagerlöf's dated Romantic mysticism. For example, the sea remains frozen over as long as the mercenaries are on board a boat that could take them to their freedom and away from retribution.
But on board one of the ships that lay there wind-bound was a man who had robbed churches, and he would have gone free but for the story. Now they had time to search him out, and as soon as he had been taken ashore there came good weather and a fair wind. (4)
Even a dog recognises bad men just from hearing them talked about. "But no sooner had Torarin said [they are good men] than his dog rose from the sledge, threw his nose in the air, and began to howl." (5)
Lagerlöf structures her story around the figure of Torarin, a poor hawker of fish. But he is more of an observer, at times a commentator, than an actual protagonist. Her story is over a third of the way through before we meet Sir Archi, the youngest of the three mercenaries. Sir Archi falls in love with the sole survivor of their massacre, and it is her actions when she discovers who her lover is that propel the climax.
Selma Lagerlöf was involved with writing the screenplay, along with Stiller and Gustaf Molander. We don't know who restructured the story – whoever, the structure adapted for the film is more dynamic. Dramatic landscape shots introduce us to the troops of mercenaries being hounded out of Sweden in disgrace. Clearly filmed outdoors in the middle of a cold Swedish winter, the image of a line of straggling soldiers in the wintry countryside is a mirror, and a premonition, of the justly famous image that will close the film.
Then we cut to our three main characters – Sir Filip (Erik Socklassa), Sir Donald (Bror Berger) and Sir Archi (Richard Lund) – prisoners in the tower. They interrupt their game of leapfrog to seize the opportunity to snatch keys from a guard and escape. This sequence exhibits Stiller's effortless mastery. Tightly edited, it moves from the jollity of the game to the excitement of snatching the guard, and the suspense of their escape from the cell and over a roof. At times, the camera tracks as though it were us; then we're peering out to see if the escape route is clear. Within the first ten minutes, Stiller has our adrenalin pumping, and we are fully identifying with the three, especially Sir Archi. Stiller will taunt us with this identification later, when we realise what Sir Archi has done!
Stiller frequently reveals his awareness of the potency of a single image. When Sir Archi first meets and starts courting Elsalill (Mary Johnson), the survivor from the vicarage massacre, one shot conveys her love and his sense of guilt. He is seated in the bottom right of the frame, wearing heavy furs and staring out of the frame. Elsalill, in a pure white dress, white bonnet and clasping her hands in front of her, approaches Sir Archi from behind. She speaks gently to him, but he half turns in anguish towards her. Without any dialogue, his torment and sense of guilt, her love but bewilderment, come across powerfully.
Perhaps, his emotions come across a little too strongly. An actress called Mary Johnson plays Elsalill. Her performance feels fresh, natural, unmelodramatic. By contrast, most of the male performances in Sir Arne's Treasure come across as stereotypical silent movie performances, a little over demonstrative, a little unsubtle.
In the dramatic climax, Sir Archi is on board a ship hoping the ice will break and allow them to escape out to sea. Elsalill has sacrificed herself to ensure the three killers do not escape. Sir Archi is aware of his sins and is now not prepared to have all his soldiers die because of him. And so the three knights are brought to shore.
As soon as the criminals were brought to shore, the storm began to rage again. … And from his lofty vantage point on deck, the skipper saw a lengthy procession approach his ship. (Title cards)
Out of the snow and mist, snaking across the top of the image, the procession of villagers crosses the frame vertically and then turns towards us, down the left hand side of the image. Their dark cowls cut across the white of the snow, as they come towards the ship to collect Elsalill's body. "They had come to collect the young maiden who had loved an evildoer … and had given her life to destroy him." (Title card.) Two decades later Sergei Eisenstein would stage a similar scene for Alexandr Nevskiy (1938).
Finally, God's retribution carried out, the storm opens the passage out to sea, and an iris closes on the final image of a now clear passage away from the land. The impact and emotional power of this final sequence is heightened not only by the stunning visual compositions, but by the clear evidence that this was not done in a studio. The snow is palpable; actors really are huddling for warmth.
These two adventures are probably Stiller's most famous films today. However, at the time he was also known for his comedies, and these are represented in these DVD releases by Erotikon, from 1920. A sophisticated romantic drama, its heroine, Irene (Tora Teje), is married to Professor Leo Carpentier (Anders Der Wahl), a "shining light in the field of entomology". Of course, he is so preoccupied in his studies of the bigamous and polygamous nature of various beetles, he's not aware of what his wife is up to, with Baron Felix (Vilhelm Bryde), a daring aviator or the handsome sculptor Preben Wells (Lars Hanson).
Again, the credits reflect the compact community involved in filmmaking at that time. But instead of the cinematographer Julius Jaenzon, the film was photographed by Henrik Jaenzon, his brother. One of the scriptwriters was Gustaf Molander and the Professor's niece, Marte, was played by his wife Karin Molander. The lover, Preben Wells, was played by Lars Hanson, who several years later would appear as Gösta Berling.
Technically, no allowance has to be made for the vintage of the film. The crudities and exaggerations of the early days of cinema are long in the past. Performances are restrained and naturalistic.
Morally, the resolution of the story is actually still shocking today, to audiences used to endings dictated by the morality of the MPAA Codes in America. The marriage of Irene and Leo is not preserved. Instead, Irene is going off with her lover, Preben Wells. Magnanimously, she wishes happiness – and his niece, Marte – for her soon-to-be ex-husband.
But there is also a heaviness about the film. When Erotikon was first shown, Ernst Lubitsch was making his first films and he is reported to have been very impressed with Stiller's film. Subsequently, he would make similar films, seemingly frivolous love stories among the upper classes, with a dash of daring impropriety. But Lubitsch added his "touch", something missing here.
Overall, the characters are too thinly realised. Surely the husband is made an entomologist just so there can be witty/risqué title cards about the behaviour of beetles.
Gentlemen, today we will focus on the habits of tree beetles. … The subject of cohabitation is particularly illuminating. Red spotted varieties opt for polygamy – while the violet varieties are monogamous … the most important species – the Ips.typographus – indulges in bigamy, gentlemen. (Title cards)
The two lovers are presentable, but again characterised thinly. There's a sense that Preben is a sculptor because that allows several comic moments with models, and a lifestyle that makes it easy for a lady to visit him during the day. The Professor's friend, Sidonius (Torsten Hammarén), never rises above the level of caricature, with his comically bent knees and shock of unkempt white hair.
Irene, his wife, is played by Tora Teje. She is a beautiful presence, but the character is again simply conceived. Her frivolous amoral approach to life is just that. Lubitsch's heroines would have greater complexity and often a sadness underneath the hedonism. In an early characterising scene, Irene consults her diary for the day: "2 p.m. Teach furrier a lesson in patience." Then we see her getting the furrier to take out every fur for her consideration, before she leaves without buying anything. It is mildly amusing, but is also unbalancing for our first impression of our heroine. It is a shallow, unjustified action and one that does not really create a sympathetic identification with her.
In a central scene, we join Irene, her husband and her lover at the ballet. The performance is an oriental extravaganza, a ballet called "Schaname", about the favourite wife of the Shah. While the Shah is away, she attempts to have her lover run away with her. He refuses, so she has him jailed. But when the Shah returns, he misses his best friend. After investigating, he learns of his wife's infidelity – and has her put to death.
Stiller devotes almost ten minutes to this sequence, an obvious paralleling of the theme of his film. This also signposts his own ending. The Professor notices that Preben doesn't applaud at the end. Preben comments, "I do not care for unhappy endings. In that respect I fully agree with the motion picture audience." Is this a filmmaker more aware of his audience's demands than of a particular vision he wished to explore?
This ballet sequence does represent one important aspect of the film. Just as in his films from Lagerlöf's books, Stiller takes his camera out in to the world. This is not a studio-bound world. The performance, for example, really does take place in front of a full theatre audience. Several sequences occur in the streets of the city. And we even go up in the air, for a joy ride with Baron Felix, surely a thrilling event for audiences of 1920.
Henrik Jaenzon's photography is effective, but it does not have quite the same brilliance of his brother's work in the historical adventures.
The three titles are separate releases from Kino. Each film is accompanied by a new score. In all cases, the scores are well conceived, filling in the silence, but without drawing unnecessary attention to themselves or attempting to underline too heavily what we can clearly see on the screen.
Sir Arne's Treasure and Erotikon are tinted. The restorations prepared in co-operation with the Swedish Film Institute are also effective without being stunning. The restoration of Gösta Berlings Saga dates from 1975, and it is the only film that is not tinted. Generally, I prefer this, as it allows the brilliance of the photography to be more strongly seen.
Each DVD includes the same short introduction, "Rediscovering Sweden: Peter Cowie Introduces the Films of Mauritz Stiller". Each film also has an extra section on that title. Cowie has long specialised in writing on Swedish cinema and these introductions are interesting. The Saga of Gösta Berling also includes extra material with Garbo, an except from an early (1922) film, Luffarpetter, an early filmed advertisement in which she appeared and newsreel footage of her departure from Sweden.
In an earlier edition of Senses of Cinema, Alexander Jacoby has written at length on Stiller's work. See www.sensesofcinema.com/contents/01/18/stiller.html.
Click here to order Sir Arne's Treasure from
Click here to order Gösta Berlings Saga from
Click here to order Erotikon from
Garbo: The Signature Collection, Region 1, Warner Bros.
Selma Lagerlof, Gösta Berling's Saga (London: Dover Publications, 2004), p. 7.
Ibid p. 187-8.
Selma Lagerlof, The Treasure (Whitefish, MT: Kessinger Publishing, 2005), p. 23.
Ibid, p. 24.
Jodorowsky, Alejandro
Alice (Lusomundo)
Peter Hourigan has spent many years going to the movies, being involved with film society and film festival bodies, as well as teaching movies with secondary students. He also leads adult discussion groups with Centre for Adult Education (Melbourne).
Avant-Garde 2: Experimental Cinema 1928-1954 (Kino International)
Treasures IV: American Avant-Garde Film, 1947-1986 (Image Entertainment)


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I wrote this review in November 2013 whereupon it went into my drafts folder in anticipation of being edited before I pressed the 'publish' button. Fourteen months later and I think it's fair to say the time for editing has long since passed. If I was going to do that I would need to read the book again, which I don't have time to do. As the review is perfectly readable (and, I hope, understandable) I thought I would publish it "as-is".
Book reviews on The Second Achilles are few and far between but I could hardly ignore this one.
We all know the story of how Achilles was dipped into the Styx by his mother so that he was invulnerable except at the heel; how he fought in the Trojan War, only to be dishonoured by Agamemnon; how he died after being shot by Paris in the one place that he was vulnerable.
Similarly, we all know of his friendship with Patroclus. The Iliad doesn't say as much but the ancient Greeks generally believed that they were lovers. Miller takes that view as well, and so her book is Patroclus' account of how they met and fell in love.
Oh yes, and died; we shall come back to that.
Madeline Miller is a good story teller. She can turn a phrase well and is at ease with her characters. She wears her learning lightly (according to the author's biography in the book she has two degrees in Latin and Ancient Greek and teaches both subjects) and has made me want to read The Iliad again. I understand she is writing a book based on The Odyssey; on the strength of The Song of Achilles I shall certainly be keeping an eye out for it.
If you have the feeling that a 'but' is coming, I applaud you prescience, for here it is.
The Song of Achilles had – for me – a number of faults that stopped me from regarding it as a first class effort.
Most profoundly, I did not feel that it made clear why Achilles was attracted to Patroclus. One minute Patroclus is sitting by himself at the table, the next Achilles has noticed him, the third they are bosom buddies for the rest of their lives and beyond.
I felt that the book suffered from a number of disconnections.
i. Achilles is portrayed as an utterly carefree boy and then as a man obsessed by his honour. How and when did this change take place? We are given no indication (that I can recall, anyway) that justified his hardline stance after Agamemnon took Briseis.
ii. Achilles carries out no great deeds as a youngster. Except for at meal times, it seems, he lives apart from other people. Yet, when he returned to Phthia after a period of time in Scyros, the men are cheering him to the heavens. Why? Why are they so convinced by him? Is it just reputation alone? If it is, I wish it wasn't. I wish Miller had given them a more solid reason to cheer him.
iii. Thetis' appearances were very disjointed. I appreciate that this may have been deliberate to emphasis her apartness from the mortal world but it grated nonetheless, especially because her character remained static for the whole story.
There were three plot elements to The Song of Achilles that I thought were big mistakes to include. The first was the Scyros episode. Again, I appreciate that this is part of the myth of Achilles (although that does not mean Miller was obliged to use it) but it felt very out-of-place as far as the story was concerned. Are we really supposed to believe that Achilles would not have sought to return to Patroclus before the latter went to him? Perhaps Miller was telling us something either about his character or his regard for his mother. If only we had a better sense of his relationship with her beforehand.
Similarly, I was not convinced by Achilles' dressing up as a woman. Was his appearance altered by magic? That's what I thought at first but then it appeared not to be the case. Granted that Achilles is not big like Ajax or Sarpedon but really didn't anyone notice who he was? I'm sure I'm missing out on what made his deception convincing but I don't know what it is. The manner of his unmasking was rushed and felt farcical.
The second plot element that I thought a mistake to include was Neoptolemus. The line in child-tyrants has, in recent years, been dominated by Joffrey in Game of Thrones and he is one more one-dimensional, irritating, blood thirsty brat than fiction really needs. Neoptolemus is now another. He added nothing to the story for me. If anything, he took away from it with his needless arrogance and acts of cruelty. How he was not poisoned by the other captains I will never know. The only justification I can think of for his inclusion is that he was Thetis' Revenger. If that was the case, though, he did not choose his targets very competently.
The final element was Patroclus' narration after he died. I would much rather a second narrator had taken over at this point. Patroclus' continued involvement diminished the value of his death, and therefore, the merit of Achilles' mourning.
I would like to finish as I started – with some positives.
Although Patroclus came across as rather a bland person, I still liked him. At least he tried and loved. In regards the latter, I thought that his love for Achilles, and indeed their relationship in general, was very sweetly handled. I cannot say how much I liked Miller's Odysseus – clever, witty, smart… but never arrogant or vain. I hope very much that her Odyssey book is focused on him. Similarly, Odysseus 'double act' with Diomedes was great to read.
Finally, I really liked the book's fusion of myth and reality. To be sure, there was a way in which it didn't work (the demythologised Achilles worked well as a man but less well as a warrior) but I enjoyed the appearance of Chiron very much, as well as references to heroes such as Herakles, and the first appearances of Thetis and Apollo, as well as the more oblique appearance of Zeus.
In conclusion, I think Madeline Miller has given us something that adds to our creative understanding of Achilles. For all its faults, it was a good first novel, and although it should not have won the Orange award, I saw enough in it to make me think that Miller will grow and continue to improve as an author. My copy came signed by her. I wish it had come without the praise of Bettany Hughes and Donna Tartt on the front cover as they raised unrealistic and unfair expectations.
I commend it to you.
Categories: Books, Fiction	| Tags: Achilles, Madeline Miller, Patroclus, The Trojan War | 2 Comments
2 thoughts on "The Song of Achilles by Madeline Miller"
PhaiFan ₪ ø lll ·o. (@TerriOak)
You're right the story has a few holes in it, but when I read this (last year sometime) I found myself barely able to put it down. It brought the story to life in a way that reading the Iliad didn't, I guess because it's written more on my level. 🙂 The worst part, though, is that…even know I knew how it was going to end…I found myself sitting in the breakroom at work sobbing like a baby at the ending. I would love to read more by her in the future.
M J Mann
Hopefully we won't have to wait too long for her Odyssey story to be published!


text:
Q: Deserialize list of objects to another collection type I have some JSON:
{
  "id": "e296c8d9-22f6-4326-8630-06d3df9d6375",
  "body": {
    "action": "update",
    "entity": "data",
    "items": [
      {
        "id": 470341982
      },
      {
        "id": 470341983
      },
      {
        "id": 470341984
      },

    ]
  }
}

And also I have a set of classes:
class Root
{
    [JsonProperty("id")]
    public string ID { get; set; }

    [JsonProperty("body")]
    public XBody Body { get; set; }
}

class XBody
{
    [JsonProperty("action")]
    public string Action { get; set; }

    [JsonProperty("entity")]
    public string Entity { get; set; }

    [JsonProperty("items")]
    public List<DataItem> DataItems { get; set; }
}

class DataItem
{
    [JsonProperty("id")]
    public long ID { get; set; }
}

Using Newtonsoft.Json library I do:
var myRoot = JsonConvert.DeserializeObject<Root>(json);

All is ok but I have List<DataItem> in the XBody object. It is enough for me to have a property of type List<long> populated with DataItem.ID property values.
Is there a possibility to perform that conversion in the fly without keeping List<DataItem> DataItems and having only List<long> IDs property instead?
Maybe it it possible to create some additional custom converters using infrastructure of Newtonsoft.Json library?

A: Yes, you can use a simple JsonConverter class to flatten the items object array to a list of longs, thereby eliminating the need for the DataItem class.
Here is the code you would need for the converter:
class ItemListConverter : JsonConverter
{
    public override bool CanConvert(Type objectType)
    {
        return (objectType == typeof(List<long>));
    }

    public override object ReadJson(JsonReader reader, Type objectType, object existingValue, JsonSerializer serializer)
    {
        return JArray.Load(reader)
                     .Children<JObject>()
                     .Select(jo => (long)jo["id"])
                     .ToList();
    }

    public override bool CanWrite
    {
        get { return false; }
    }

    public override void WriteJson(JsonWriter writer, object value, JsonSerializer serializer)
    {
        throw new NotImplementedException();
    }
}

To use it, change the list property in your XBody class to be a List<long> instead of a List<DataItem> and annotate it with a [JsonConverter] attribute like this:
class XBody
{
    ...
    [JsonConverter(typeof(ItemListConverter))]
    public List<long> IDs { get; set; }
}

Then, when you deserialize, it should work the way you want.
Full demo here: https://dotnetfiddle.net/3DAiEf


text:
void import_1_1_uchar()
{
	NumpyEigenConverter<Eigen::Matrix< boost::uint8_t, 1, 1 > >::register_converter();
}