text:
Q: Secure way to update a remote database using a java client Language : JAVA
Target-OS : Cross Platform
I have a database on my server. I can think of few ways to update the database.

*

*Making a remote database connection using the JDBC driver.

*Using a server side script to update the database and call it using a GET or POST.

Q1. I think 1st option may be a high security risk and there is a possibility of endangering the whole database. Am I right?
Q2. Is the 2nd way better for the task or are there other ways around.
Thank you.

A: You can go with the open source framework named "Awake SQL". It's based on HTTP. You can go with the first option. click here

A: Here I found the answer, Seems it is the second option. Awake SQL (mentioned by Pavan Kumar ) also seems to be connecting to a server side web service layer. Read this.
How do you handle database security from a desktop application?

redpajama_set_name: RedPajamaStackExchange


I love books where history is just a little bit different. Sometimes one small change can lead to huge consequences.
Whenever I think of alternative history I think of Harry Turtledove even though I've never read any of his books. I think of his books as the classic alternative history that don't rely on magic but on normal events going differently.
Forget the fact that they turned this into just another zombie movie. This book is like nothing else I've ever read. The Zombie War happened 10 years ago. Now survivors are being interviewed. You start out knowing nothing about the war. Why would you need that explained? You obviously lived through it. While reading survivor accounts, you learn the story. The doctor who treated the first case, the people who trained dogs to find zombies, and other people tell what happened to them. Amazing.
"1632 And in northern Germany things couldn't get much worse. Famine. Disease. Religous war laying waste the cities. Only the aristocrats remained relatively unscathed; for the peasants, death was a mercy.
2000 Things are going OK in Grantville, West Virginia, and everybody attending the wedding of Mike Stearn's sister (including the entire local chapter of the United Mine Workers of America, which Mike leads) is having a good time.
I read 1632 as part of a library book club a few years ago. I loved the book. What would you do if you were suddenly plunged into the past with no way back and had to survive only on what was transported with you? Academic worries about changing history take a backseat to surviving. There are a bunch of sequels and fan fiction branching off of this. Eventually I couldn't keep everyone straight in the universe and gave up.
In this world the Crimean War between England and Russia never ended, leading to all kinds of changes in history as we know it.
I loved this book about what 1888 Boston would look like if the magical British aristocracy was still in charge.
This is a great book imagining the Welsh and English at war and Alexandria as the greatest city on Earth.
Not going to lie. I listened to this solely because it was narrated by James Marsters but I ended up loving the book.
What if when humans tried to expand out of the areas they first settled they found that they weren't the dominant predators on Earth?
I love this series. The world is run by shape shifters who keep humans in check through a few strict system of controls. Now humans are trying to rebel. Hint – you won't be rooting for the humans.
What About Trying Hard To Have History Just The Way It Is?
This is a series about historians who can go back to observe history and try very, very hard not to change it. No, you can't put out the fire at the Library in Alexandria or warn people who are going to be assassinated no matter how good of an idea it seems at the time.
I haven't gotten to this one yet but I really need to.
I like alternative histories, especially if they involve time travel! Stephen King's 11/22/63 comes to mind – so good!
I haven't read any of the books on your list, but they sound great. I think I would especially like Just One Damned Thing After Another. I've added it to my ever-growing TBR list. Thanks for the heads-up!
Found you again this week through the Lit Lover's link-up.
You should read The School For Unusual Girls.
I love this idea for a 101, alternative History is a lot of fun!!!
Fun idea for a class! I really need to read Ink and Bone soon!
Ink and Bone was great! Hope you enjoy it.
Excellent topic. Have you read Philip Roth's The Plot Against America? It would fit nicely with your topic.
I haven't read The Plot Against America. I'll look it up. Thanks for the suggestion.
Great list. I love the Anne Bishop series to pieces! It's one of my all-time faves. I also really enjoyed Ink & Bone when I read it a few months ago. Thanks for sharing!
Great list – I see several I need to read! Here's my TTT list.
There aren't nearly enough alternate history books out there—it's a really interesting topic, but seriously underused. I read Ink and Bone a couple weeks ago and loved it, so now I'll have to track the rest of these ones down. Awesome list!
Fun idea for a class!


this movie kicks booty it inspired me to start babysitting.i actually havent babysat yet.wow im lazy...ANYWHO!this movie is the shiznet and i command you to not just rent it.BUY it.satisfaction guranteed.
This movie was one of my mother's favorite movies of the 80's. We had it on VHS and lent it to my cousin and never got it back. The best scene was the blues club. "Nobody leaves this place without singin' the blues." AWESOME!!!
Was an awesome 80's movie!
Adventures in Babysitting is also one of my childhood favorites. I remember that I saw on tape over my cousins house in St. Louis.
Elizabeth Shue showed her boobies later on in "Cocktail". At least that's the way I remember it.
I still love watching this!
Classic film. Must admit that it is one of my all time favourites and I know the dialogue off by heart. Oh and i managed to track down the fantastic soundtrack.
I had this on tape in the 90s...then someone "borrowed" it and then lost it. I have to see this again!
Never knew Anthony Rapp was in this.. now he's the main reason I love it!
I remember seeing this on tv in the 90's, found it at wal-mart on dvd, its a funny 80's movie.


Data analysts Canalys have been busy working their way through the financial reports posted by mobile manufacturers and come up with some pretty interesting figures.
We knew the smartphone industry has been growing but Canalys' findings have shown the smartphone market grew by 64% annually wordwide in the second quarter of 2010. Nokia remained the biggest smartphone manufacturer, achieiving 38% market share after shipping a record 23.8 million smartphones but still found its performance outpaced by the overall growth of the smartphone market as a whole.
RIM's BlackBerry smartphone shipments grew by 41%, helping the company to remain the second biggest smartphone manufacturer with a market share of 18%, although the company still dominates the North and Latin American markets. Despite negative press surrounding its antenna issues, Apple shipments were still very strong and contributed towards growth of 61% and a 13% share of the market.
The biggest surprise was how much Android had grown in Q2; shipments of Android-powered handsets grew by an incredible 886%, from the previous year. At its current rate of growth, Nokia and Apple shipments could soon be overtaken by the open-source mobile operating system.
The US smartphone market continues to expand, growing 41% on last year, cementing its place as the largest smartphone market in the world by quite a margin with 14.7 million units shipped, 23% of global shipments during the same period. Android devices represented a 34% share of the US market, growing by 851% in the US alone.
Pretty huge numbers for Google; Apple, Nokia and RIM might be feeling a little uncomfortable right now.


Train operating company Arriva has signed a contract worth £560m for new trains and carriages for the Northern rail franchise, with updated trains set to service Rotherham from 2018.
Northern Rail is currently operated by a 50:50 joint venture between Serco Group plc, the international services company, and Abellio, a subsidiary of NS Dutch Railways. From April 2016, it will be operated by Arriva, one of Europe's leading transport operators, until at least 2025.
The winning bid for the franchise included the introduction of 281 new carriages, the full refurbishment of the remaining fleet and the removal of all Pacer trains within three years. Beginning in December 2017, new timetables will provide 100 new through journey opportunities across Leeds, Manchester, Newcastle, Sheffield and other regional hubs.
Following a comprehensive procurement process, Spanish train manufacturer CAF will build the 281 carriages with the first of the new trains, which will enable the outdated and unpopular Pacer trains to be replaced, delivered by October 2018. The deal will be financed by Eversholt Rail Group.
The projects include the supply of 43 electric trains of three and four carriages and 55 diesel trains of two and three carriages (a total of 281 passenger carriages) for commuter/regional services with a top speed of 100 mph.
The new trains will include air conditioning, power sockets and tables, cycle racks, toilets, digital CCTV systems, and free Wifi for passengers.
Chris Burchell, managing director of Arriva's UK Trains Division, said: "We feel hugely privileged to have been given the opportunity to transform travel for passengers across the North of England and today's contract signing allows us to replace the outdated, unpopular Pacer trains as soon as possible.
"We are delighted to partner with CAF and Eversholt Rail Group to meet the high specification and demanding timetable for delivery of the new rolling stock. I hope that today's announcement once again makes clear our determination to deliver on our promises to passengers."
The Northern operated service between Sheffield and Hull, which calls at Rotherham, is set to become part of the Northern Connect network, with at least 13 trains per day each way operated by brand new diesel trains. There will be 15 trains per day on Sundays, up from 11 or 12 currently on the timetable.


The two styles — the NikeCourt Zoom Vapor 9 Tour x Colette and the NikeCourt Tennis Classic x Colette — will hit the retailer's shelves and Nike.com on May 21.
In advance of the French Open, which begins May 24, Nike and Parisian retailer Colette are partnering on two styles for Maria Sharapova, the tournament's defending champion and a Nike-sponsored athlete.
The styles — the NikeCourt Zoom Vapor 9 Tour x Colette and the NikeCourt Tennis Classic x Colette — will hit the retailer's shelves and Nike.com on May 21.
The Zoom Vapor 9, first launched in 2012 by Nike design legend Tinker Hatfield, comes decked out in Colette's signature blue colors and iconic dots, with a number of subtle nods to Sharapova, who will wear the shoe with a color-coordinated Nike dress.
The shoes also feature a stark white hue over the length of the upper, finishing off a look made for the courts and beyond.
Nike and Parisian retail powerhouse Colette have collaborated on a new style for Maria Sharapova, called the NikeCourt Zoom Vapor 9.
The classic shoe was "popularized on the capable feet of a hot-tempered superstar who literally swore by them," according to a Nike statement. It "embodies tennis tradition and style" and boasts soft-grain-leather uppers for added comfort.


So this was rather different. I heard of this book first from my husband, who was reading it (albeit in Hungarian) last year. He was laughing quite a bit while he was reading it, so naturally, I was curious what it was about.
This book is a detective story, but not your usual detective story. The main detective isn't human, but a herd of sheep. See, this book opens with a death, the death of George, a shepherd. George was an old and rather unique shepherd, who read romance novels to his sheep. The sheep refer to these novels as the Pamela stories, as they often feature hot babes with the name Pamela. One day, they find their shepherd dead, in the middle of the field, with a spade driven in the middle of his body. So the sheep decided that they would try to find out who killed their shepherd. After all, their shepherd also read detective novels to them, so they know how to do it, or so they think.
If there is one suspension of disbelief that is required of the reader, it is that the sheep understands English. They seem to understand what humans say, and therefore this allows them to catch clues and deduce things. It actually is a bizarre thing, but somehow, as long as you buy it, this novel definitely entertains.
Perhaps one thing that I like about this novel is its pace. It is not an airport novel. It doesn't make you turn the page as fast as you can. It alters the pace back and forth, allowing the reader to digest what's happening. After all, the reader has to switch back and forth between two perspectives, those of humans and those of sheep. And this is what I think is great about this novel. It describes human behavior through the perspective of sheep every now and then, and it makes the reader aware how absurd some of human behavior can be.
I am not going to tell you who killed George. That's up to you to find out. But I should say that I had a good time guessing. You make guesses, and then you get further evidence, and sometimes you have to revise your guess. You think that one person is a bad guy, and then after learning more about him, you then think that he isn't as bad as you thought he was. And vice versa. And sometimes, there are passages that would make you suspect that the killer isn't human but rather a sheep.
So overall, I did enjoy this book. I give it 4 out of 5 stars.


Immunohistochemical analysis of paraffin-embedded H. brain section using UCHL1 Antibody (C-term)(Cat#AM2207B). AM2207B was diluted at 1:25 dilution. A undiluted biotinylated goat polyvalent antibody was used as the secondary, followed by DAB staining.
Immunohistochemical analysis of paraffin-embedded H. astroglioma section using UCHL1 Antibody (C-term)(Cat#AM2207B). AM2207B was diluted at 1:25 dilution. A undiluted biotinylated goat polyvalent antibody was used as the secondary, followed by DAB staining.
UCHL1 Antibody (C-term)(Cat. #AM2207b) western blot analysis in 293T,NCI-H1299,rat PC-12 cell line lysates (35μg/lane).This demonstrates the UCHL1 antibody detected the UCHL1 protein (arrow).
This UCHL1 Monoclonal antibody is generated from mouses immunized with a KLH conjugated synthetic peptide selected from the 185-214 region of human UCHL1.
UCHL1 Antibody (C-term) is for research use only and not for use in diagnostic or therapeutic procedures.
Ubiquitin-protein hydrolase involved both in the processing of ubiquitin precursors and of ubiquitinated proteins (Probable). This enzyme is a thiol protease that recognizes and hydrolyzes a peptide bond at the C-terminal glycine of ubiquitin (PubMed:9774100, PubMed:8639624, PubMed:12408865, PubMed:23359680). Also binds to free monoubiquitin and may prevent its degradation in lysosomes (By similarity). The homodimer may have ATP-independent ubiquitin ligase activity (PubMed:12408865).
Ubiquitin-protein hydrolase involved both in the processing of ubiquitin precursors and of ubiquitinated proteins. This enzyme is a thiol protease that recognizes and hydrolyzes a peptide bond at the C-terminal glycine of ubiquitin. Also binds to free monoubiquitin and may prevent its degradation in lysosomes. The homodimer may have ATP-independent ubiquitin ligase activity.
Boudreaux D.A., et al. Proc. Natl. Acad. Sci. U.S.A. 107:9117-9122(2010).
Hillier L.W., et al. Nature 434:724-731(2005).
Mural R.J., et al. Submitted (JUL-2005) to the EMBL/GenBank/DDBJ databases.
Day I.N.M., et al. Biochem. J. 268:521-524(1990).
Choi J., et al. J. Biol. Chem. 279:13256-13264(2004).


text:
Indie Horror Games
Megan Kerr
SCP - 087 (Stairwell)
There is something truly terrifying about the unknown. 'Stairwell' is one of the scarier additions in the SCP library due to its simplicity. SCP is a collection of stories of locations or objects that seem ordinary at first but can become nightmarish creations. 'Stairwell' is very much what it is in the title; a stairwell with a seemingly unlimited number of floors. However, the stairwells are poorly lit, narrow and the only company you have are the randomised events that happen as you move further and further down. The game is simple and can seem like a walking simulator at times when nothing is happening but due to it being randomised, you never know when and what is going to pop up which, makes it a truly terrifying playthrough.
'IMSCARED' doesn't look like much at first but the same is described as a metahorror experience. This game will try and mess with you. Saying anything more about it will truly spoil the experience of what the game is. You will find stray files on your computer as you go through the first-person pixel nightmare trying to beat the game at its own games. If you choose to play the game, just remember that the game is not your friend and you truly are alone in this nightmare world.
Inspired by the colourful world of old Disney and Fleischer animations, you play as Henry- a man who used to work in an old animation studio- who has been called back 30 years later. Going back to the studio, you discover your old workplace in ruins and you must bring to life the ink machine to keep the place running. Upon doing this, you begin to realise that the animation staff have been trying to bring their mascot Bendy into the real world through the occult and that's when all hell breaks loose. The game is episodic with the first one being free to play. The game is a masterpiece of story, beautiful visuals and characters. Saying any more would spoil how wonderful this creative horror pieces really are. It's a must for a Halloween indie horror binge.
Five Nights at Freddie's
If you have a fear of animatronics, I wouldn't recommend this title. This game found its fame in 2014 and has since spun off countless sequels and side games. It's time to look at the game that started it all, the original 'Five Nights at Freddie's'. You play a night guard looking after murderous animatronics until 5 am and that's pretty much it. There's something about the original that makes it an absolute classic. The gameplay was ground-breaking at the time and has since been perfected (and even copied through many fangames). Everyone remembers how terrifying it was to see Bonnie, Chica and Freddy standing by your door, waiting for you to drop your guard. Everyone also remembers how scary it was to look at your camera and see Foxy run at you. The sequels have added to the story and made it better, but the original deserves to be looked at again for starting a craze of murderous animatronics.
Doki Doki Literature Club
Don't be fooled by the cute anime girls when you look up this game. For many people, they were fooled by the seemingly innocent gameplay as it appeared to be any regular anime dating sim. Much like 'IMSCARED', not too much can be discussed without spoiling the experience. The best way to play it is to play it blind. It follows the main character who has joined the literature club with the chance of wooing three girls; your childhood best friend Sayori, the grumpy standoffish Natsuki and the shy and poetic Yuri. There is also Monika who is the head of the literature club. The game takes a very unsettling turn that will stay with you for a long time. Play this game blind, it will be so worth it. However, as a warning, it must be made clear that this game deals with the topics of suicide, self-harm and depression.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Java/Eclipse: Why some throws are ignored by the IDE? Namely any enum valueof() (not the class Enum) will not require try/catch for IllegalArgumentException.
I had to look here, and at the Enum class, to know about it.
As a bonus answer, I would like to know if there is some way to make the IDE require these try/catch blocks. Namely Eclipse IDE.
PS.: I am using Eclipse Luna 4.4.2, an upgrade suggestion is acceptable also.


text:
Lethe turpilius är en fjärilsart som beskrevs av Charles Oberthür 1890. Lethe turpilius ingår i släktet Lethe och familjen praktfjärilar. Inga underarter finns listade i Catalogue of Life.

Källor

Praktfjärilar
turpilius

redpajama_set_name: RedPajamaWikipedia


text:
Q: how make my hook valid ? Object are not valid as a react child i'm doing my hook with firestore. I did praticly exactly the same on an ohter page and he works. But this one i have the error :  Objects are not valid as a React child (found: object with keys {_U, _V, _W, _X}). If you meant to render a collection of children, use an array instead.
On my  console i can see an empty array like that
cc []

also my hook
async function GetFriendsRequest() {
  const [TeamsArray, updateTeamArray] = React.useState([]);

  firestore()
    .collection("Teams")
    // Filter results
    .where("uid", "==", await AsyncStorage.getItem("userID"))
    .get()
    .then((querySnapshot) => {
      if (querySnapshot.empty) {
        console.log("no documents found");
      } else {
        querySnapshot.forEach(async (doc) => {
          let Teams = doc._data;
          TeamsArray.length = 0;
          updateTeamArray((arr) => [...arr, Teams]);

          console.log("cc", JSON.stringify(TeamsArray));
        });
      }
    });
  return (
    <View>
      {TeamsArray.map((element, key) => {
        <View style={{ flex: 1, flexDirection: "row" }}>
          <View>
            <Text style={{ color: "#5DC1D3" }}>
              {element.MembersList.nickName}
            </Text>
            <Text style={{ color: "#5DC1D3" }}>{element.Activity} </Text>
          </View>
        </View>;
      })}
    </View>
  );
}

Something is wrong ?

A: Your .map() callback isn't returning anything. You need to replace the braces with parentheses in the body of the callback in order to return your JSX:
{TeamsArray.map((element, key) => (
        <View style={{ flex: 1, flexDirection: "row" }}>
          <View>
            <Text style={{ color: "#5DC1D3" }}>
              {element.MembersList.nickName}
            </Text>
            <Text style={{ color: "#5DC1D3" }}>{element.Activity} </Text>
          </View>
        </View>;
))}

A: There's a few mistakes in your component, you'll have to fix those first before debugging.

// This is a component, not a hook, so use it like <GetFriendsRequest />
async function GetFriendsRequest() {
  const [TeamsArray, updateTeamArray] = React.useState([]);

  // This code was in the render loop
  // put it inside a function so it doesn't run on every single render
  const init = async () => {
    const uid = await AsyncStorage.getItem("userID");

    firestore()
      .collection("Teams")
      // Filter results
      .where("uid", "==", uid)
      .get()
      .then((querySnapshot) => {
        if (querySnapshot.empty) {
          console.log("no documents found");
        } else {
          const results = [];
          querySnapshot.forEach(async (doc) => {
            let Teams = doc.data();
            // Don't mutate react state, it should be treated as immutable
            // TeamsArray.length = 0;

            // This is an async function, but it's being
            // called as if it were syncronous
            // updateTeamArray((arr) => [...arr, Teams]);
            results.push(Teams);
          });

          // Schedule a single state update
          updateTeamArray([...results, ...TeamsArray]);
        }
      });
  }

  // Use an expression like this to debug
  useEffect(() => {
    // Log state every time it updates
    console.log(TeamsArray);
  }, [TeamsArray]);

  useEffect(() => {
    init();
  }, []);

  return (
    <View>
      {TeamsArray.map((element, key) => {
        // Something has to be returned from this map
        return <View style={{ flex: 1, flexDirection: "row" }}>
          <View>
            <Text style={{ color: "#5DC1D3" }}>
              {element.MembersList.nickName}
            </Text>
            <Text style={{ color: "#5DC1D3" }}>{element.Activity} </Text>
          </View>
        </View>;
      })}
    </View>
  );
};


The US manufactured M2 is the 3rd generation of Makergear's 3D printers. It is built on a solid metal chassis, giving it a sturdy structure. This machine comes equipped with a heated platform which uses PLA or ABS to build objects of a maximum dimensions of 20.3 x 25.4 x 20.3 cm. It is a versatile 3D Printer that comes pre-assembled, while users can also tweak the machine with on-board controls, interchangeable nozzles and dual-extruder upgrade.
The Makergear M2 has remained largely unchanged for several years for a very good reason. Once you get the bed leveled, it stays level which is critical to printing. i've ran the printer for several days nonstop and it continued to print as if t were brand new.
Overall this is a good product for the price, although a few failure modes are common. I've used/been around 5+ of these printers and the nozzle mount broke in every one (newer mounts are available that are more reliable). The heated build-plate wires are not very well strain-relieved. Wires on my personal printer and the same printer at work have both had wires breaking off of the heated bed from typical usage. Common filament usage and flexible temperature control make this printer good to experiment with new materials.
I think its one of the best printers available on the market. The customer support is awesome. There is a learning curve, as with all printers, but I was printing right out of the box and 4 month later I'm still learning, but that's due to me never having a printer before. I use it to print cases for my BBQ customers and I get wonderful results every time.
The Makergear M2 is well built 3d printer. The dual extruder upgrade great increases the capability of the printer allowing it to print far more complicated designs than is previously could. would recommend the M2 to anyone looking at getting into 3D printing.
The makergear is an amazing, soild printer for the cost. Which is why I just purchased a second one for my business.
The Makergear M2 Rev. E is built like a tank. And that shows in print speed and realiability! Whit this machine we get better quality on the prints at 80 mm/sec than with any other tested, at often below half of that speed. The Makergear is also very well designed to be easy to work with. Switching hotends takes maybe two minutes. You can switch just the nozzle, but for production jobs, when speed is key you will be better of with one hotend for each nozzle size. Not the cheapest, but the printer run circles around for example the Ultimaker 2.
It's a fantastic printer that is both reliable and precise. It is a little on the expensive side, but if it can be managed, you won't be disappointed!
Very good hobby printer for someone who can take the time to dial in the print process.
The reliability and the ease of maintenance has made this printer worth the every penny for me. This machine is a tank and keeps plugging away at everything I've thrown at it that past 18 months. It's done filament switches, embedded parts, exotic filaments, large parts, small parts. It has served me well.
I was lucky to stumble upon this and buy this as my first printer. I have tinkered with it a LOT, modded it, tested things, broken most parts of it and always had good responses from the customer support. That is the most important issue I feel.
This is a solidly built machine that is easy to operate and easy to maintain. It is even easy to modify and upgrade.
Love this printer. Only thing after 100kg of printing that broke was a fan on the extruder. It broke because when I was putting filament into it I missed and it ran into the fan, breaking a blade. So my fault. Other than that not a single thing has gone wrong with it that wasn't my error. Looking to buy another soon!
Very good printer and Simplify 3D is one of the best slicing software on marktet.
This is a fantastic machine. I own two of them and am thrilled with the quality and customer service.
Reliable printer, without much knowledge can get decent prints but with advanced knowledge can tweak your settings however you want to get amazing prints. Stepper motors are slightly loud but that is the only downside: community is great, the hot end allows you to print up to polycarbonate, and I have successfully printed with every material I have bought including PLA, stainless steel PLA, ABS, PETT, PETG, and nylons. In my experience an enclosed platform is not needed for ABS but some might see the lack of enclosure as a downside. It runs and runs without any maintenance except some oil on the linear rails, and I have done hundreds of prints. Choose a solid surface to print on as the high print speeds cause the printer to vibrate but do not affect print quality.
Well designed and built machine with outstanding customer service and community.
Not knowing as so many printers as I would like to know, this is the best printer I've known. Reliability, speed, quality...the best of its characteristics. On the other half, not having a sales representative in Brazil makes quite difficult to have a great support. Anyway, I'm really satisfied with the printer!
Excellent printer, I have been using this printer now for 2 years and have had nothing but positive experiences with it. Well built, very precise.
The reliability is good, besides some problems getting the printer to keep the Z-height. Fixable by adjusting the Z-height before printing.
An amazing printer, built like a tank, extremely reliable and accurate.


text:
Q: Current page hightlight button I have 3 buttons that are in a header PHP file of my site. I want to change the color of the button when you are on a that page but I cannot get it working correctly so I am trying to use $thispage statement to call it so if it is on one of the pages it adds the id="currentpage." Here is the code I am using
<input type='button' value='AVAILABLE NOW' onClick='location="/category/upcoming/"' <?php if ($thisPage) echo " id=\"currentpage\""; ?> class="header-image" />
<input type='button' value='COMING SOON' onClick='location="/category/soon/"' <?php if ($thisPage) echo " id=\"currentpage\""; ?>class="header-image" />
<input type='button' value='VAULT ARCHIVE' onClick='location="/category/previous/"' <?php if ($thisPage) echo " id=\"currentpage\""; ?>class="header-image" />

A: PHP
<?php
$page_name = basename(__FILE__);
?>

HTML
 <li <?php echo ($page_name == 'page1.php' ? 'class="currentpage"' : 'class="h"'); ?>> Link1

 <li <?php echo ($page_name == 'page2.php' ? 'class="currentpage"' : 'class="h"'); ?>> Page 2

CSS
.currentpage{
/*Format it how you want it */
}


The most widely-grown Dill variety in the U.S. This is an early variety that makes large seed heads, perfect for pickling. Harvest often for re-growth. You can grow a 10'x10' area with this package and literally grow a Dill forest!! These will re-seed themselves and continue to grow year after year.


North or South bound on Route 8. You will notice blue highway signs as designated on the map. They are located approximately 300' from your next turn onto Thompson Run Road. At approximately 1 mile, another blue highway sign designates a right turn. Travel approximately 1.5 miles to a stop sign. The Knapp Farm is on the left corner just after the stop sign. Route 417 is a recommended shortcut heading northbound on Route 8.


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This article explores the influence of Derek Mahon's melancholic poetry on a younger generation of Irish poets. Drawing on Peter Schwenger's The Tears of Things: Melancholy and Physical Objects (2006), it argues that Mahon's influential early poems deliberately provoke melancholy in order to insist upon the subject's alienation from the world. It traces how the poets Justin Quinn and David Wheatley take on and reject aspects of Mahon's influence, with a focus on this melancholy. Quinn rejects Mahon's melancholy and comes to insist emphatically upon connectedness, resulting in his development of a poetics pledged to traditional forms and full rhymes. Wheatley hews fast to early Mahon's insistence on a gap between us and the world, inflecting that gap with a keen consciousness of environmental crisis. His trajectory, in contrast with later Mahon, is towards an embrace of disjunctive modernist techniques as a means of acknowledging our disconnectedness from the world. Attending to the ways in which Quinn and Wheatley work with and against Mahon's influence sheds light on the 'Metre generation' as one whose poetic inheritance enables a sophisticated and exciting use of form as a tool with which to think through the individual's relationship to the world.
In his book The Tears of Things: Melancholy and Physical Objects, Peter Schwenger points out that much art, rather than seeking to diagnose or cure melancholy, strives to cultivate it (2006, 14). Such art holds fast to longing. It does so not for therapy or catharsis, but to see the world anew under the aspect of loss. It is apocalyptic: it makes of our everyday distance from the things of the world the means to point towards ultimate matters. 'Melancholy representation,' Schwenger writes, 'does not pretend to give us access' to the world, 'only to awake our longing toward what must always remain inaccessible, in the world and in us. It is this longing that so much art contains – not that toward which we long' (2006, 14). The insight that art might seek to cultivate melancholy, rather than simply represent it or attempt to salve it, is evocative in the context of the generation of Irish poets who follow after Derek Mahon. Mahon's work is shot through with melancholy from the outset, and in the 1990's it profoundly influenced a generation of Irish poets, among them Vona Groarke, Conor O'Callaghan, Caitriona O'Reilly, John Redmond, David Wheatley and Justin Quinn.
O'Callaghan: Since you have mentioned him more than once, now would seem like a good moment for us to acknowledge the absolute centrality of Mahon's work and example to our generation. We were all in love with him! Do you agree that his influence, more than any other, created space for our generation?
O'Callaghan's suggestion here is that Mahon's example was enabling for the poets coming after him in a way that other predecessors' examples were not. Mahon 'created space.' One might speculate that this was so because Mahon offered a means to write poetry that was not redemptive or consolatory but disruptive and ironic. His insistence on cosmopolitanism and internationalism – his ritualized rejection of his place of origin – was important, too, for a generation which is today often associated with an aspiration to post-nationalism. Almost all of this generation of poets live, or have lived, away from Ireland and write about their new homes in their poetry. Some of them – Quinn in particular but also, to some extent, Wheatley, who frequently notes how long he has not lived in Ireland – reject the category of 'Irish poet,' insisting on their new home or the English language as more relevant contexts for their poetry. Mahon's dissatisfaction and melancholy, his channeling of the poète maudit persona, appealed to these young poets for whom, in the 1990's, Ireland was already diminishing in significance as a context.
Mahon's example has been a matter of anxiety for these poets as well as an enabling force, of course. Wheatley writes: 'Among living Irish poets only Muldoon comes close to Mahon, I would suggest, as a source of anxiety of influence: second-hand Heaney or Longley can be a relatively benign or harmless affair, but anything beyond the bare minimum of second-hand Mahon or Muldoon is positively fatal to a poem' (2011). Attending to Mahon's influence on the poets coming after him – and attending to the significant ways in which they worry about, depart from or react against his influence – affords insight into a generation characterized by their interest in formalism but also by their anxiety about form. Making the case for Mahon's influence can provide fresh insight into the landscape of Irish poetry more generally, moving us away from accounts dominated by the influence of Heaney and Longley. In this paper, I attend to the fate of Mahonesque melancholy in the work of Quinn and Wheatley, suggesting where Quinn and Wheatley follow and depart from Mahon's influence. For Quinn, departure involves rejecting Mahon's melancholy wholesale. His poetry comes to insist on connectedness, through its focus on global systems that sweep up the individual and on moments of postmodern sublime, but also through its poetics of full rhyme. In contrast, the melancholic gap between the human and the non-human becomes central to Wheatley's poetry as he turns increasingly to environmental concerns. It becomes 'a zone of artistic possibility' from which the poem can reflect on the natural world's 'fragility and essential alienness' without claiming to have grasped that non-human world (Wheatley 2015, 19).
The melancholy that Schwenger writes about in The Tears of Things is not precisely the melancholia of Freud's 'Mourning and Melancholia.' In Freud's famous work, the unhealthy failure to incorporate a loss prevents the healthy closure of mourning. Freud's melancholia, which has proven so attractive to postcolonial scholars mining the hauntings and repetitions of Irish literature, begins with an unusual loss – a trauma. Schwenger turns his attention to 'a more ordinary dynamic' (2006, 2). He notes that our everyday relationship to the things of the world begins with loss: when we perceive any given object, 'it is simultaneously apprehended and lost' (Schwenger 2006, 2). No object in the world is ever fully grasped by us. And since, in Merleau-Ponty's words, 'we grasp the unity of our body only in that of the thing' – that is, we can conceive of our body as a singular thing only because we can conceive of the objects of the world as singular things – our physical self is subject to this same process of apprehension and loss (Schwenger 2006, 3). If we perceive in objects a loss, we perceive in the self a loss. 'In Freud's terms, there is a loss in the very evolution of consciousness, which splits in two what was once one and thus evokes a kind of nostalgia for the prior state' (Schwenger 2006, 5). The melancholy that ensues is, in Schwenger's words, 'less grand, more subtle' than Freud's melancholia. It derives not from a defining moment of bereavement, but from 'the subject's alienation from the objects that are the very co-ordinates of the subject's being in the world' (Schwenger 2006, 10). What we yearn for is 'our own prior state of objecthood, and perception can only stress the ways in which this is so' (Schwenger 2006, 5). Much art, Schwenger points out, does not seek to express, diagnose or stop this process but to provoke it.
'Spring in Belfast' and 'Glengormley' are, obviously, poems of place. They are specific in their imagery and draw on the melancholy of a specific set of youthful experiences. The alienated voice which yields only 'casual interest' and 'casual pity' is the voice of a young Mahon, growing up disaffected among 'the kitchen houses/And echoing back streets of this desperate city' and becoming an artist by means of that disaffection (Mahon 2011, 15; my italics.) The 'here' of the final line of 'Glengormley' is no other here but there (Mahon 2011, 16). Critics have been justified in reading these poems in the literary context of Northern Irish poetry and the historical context of sectarian strife. But there is also a more generalizable melancholy at work in these poems, the melancholy of the artist as a young person, coming to consciousness of the human condition: alienated from self, world and others.
'September at Great Yarmouth' locates melancholy in the figures and objects of a seaside at summer's close. This poem is striking for its degree of uncanny anthropomorphism. By repeatedly rendering objects as the subjects of their own actions, Mahon creates a sense of the inevitability of time's passing, its being beyond our control: 'Chimneys breathe and beaches empty' and 'ice-cream stiffens in its cone' (Mahon 2011, 18). Words acquire a double meaning, haunted by death, so that when the boatman calls in a pleasure boat – 'Come in, fifteen, your time is up' – the implication is sinister. Written almost entirely in the third person, the poem suddenly rounds on the reader at the end of the third stanza: 'You have sown and reaped; now sow again' (Mahon 2011, 18). By doing so, it draws us in, provokes our melancholy. Time is passing for us, too.
Of senile aspect, white like the beards of old negroes.
Ponge's poetry evokes the gap between the human and the non-human by performing the inevitable failure of any attempt to render an object in all its particulars. Our melancholy failure to reach the world is the failure of language, our imperfect tool for bridging the divide between us and world. In Ponge's poems, the particulars of the object in question 'are demonstrated to be also those of words' (Schwenger 2006, 27). The 'fairly orderly profusion of senile trunks' in Mahon's translation are also the lined-up letters of the prose poem in front of us; the poem comments ironically on its own 'wholesome atmosphere' and 'vibrant but soft and agreeable musicality.' By falling through the forest and ending up back at words, the poem's attempt to describe something in the world fails theatrically. Ponge's project of repeatedly describing and yet failing to describe objects insists upon the impossibility of our ever fully grasping objects through language.
The suggestion is that this space of dislocation, which 'might' become 'habitable,' will be the space Wheatley's art seeks out. As Maria Johnston writes, 'this poem as an initiatory poetic statement may be seen to assert the poet's own resolve to take nothing for granted in his poetry, not even the perceptible layer of reality that appears before his eyes' (2008). A strange world will be hunted out within the familiar one: the poet pledges himself to melancholy.
Written in the second person, Quinn's 'High and Dry' follows its addressee on an early morning drive. The emptied-out city puts its narrator in mind of a time outside time: 'At this hour Dublin city has a calm/which I imagine follows armageddon' (Quinn 1995, 21). Quinn's poem ends on a melancholy provoked by encountering traffic lights deprived of their function: 'Strangest of all/Are traffic lights, high and dry at crossings, /Clicking through their signals, and no-one there.' Like Wheatley's sleepwalking poem, Quinn's poem seeks out strangeness. Sometimes these early poems by Wheatley and Quinn are apocalyptic – the street before the day begins suggests a world after Armageddon; the night-time table is set for the speaker's 'absence'; a rock perches on an apartment that is long since obliterated – because in order to open 'new vistas beyond meaning's authoritative last word,' a melancholy representation will often view 'the world under the aspect of 'last things' and so [see] it for the first time, as a dying person might be born into new perceptions' (Schwenger 2006, 14). A writer might seek out or provoke melancholy in order to see more clearly.
Schwenger remarks on the 'wistfulness' we have towards objects 'when "being in the world" becomes a burden': there are moments when we might feel nostalgia for objecthood (2006, 77). A process of imagining the self as an object works itself out over the course of Quinn's second collection, Privacy (1999). The collection culminates in a final short poem in which the speaker imagines himself a 'rock' perched on an apartment building that no longer exists (Quinn 1999, 63). Much of Privacy is centred on the poet's apartment block in the suburbs of Prague. The apartment building, apartment and furniture are all made strange in a variety of ways in the course of the book. 'Háje' places the apartment in a no-man's-land between the urban and the wilderness: 'A Marlboro billboard reminds me about nature' (Quinn 1999, 13). In 'Apartment', a reader whose book 'maybe binds/Huge things together, has everything arranged // From nations to the Derridean trace' is interrupted in his reading by the glimpse of a neighbour at a neighboring window. The attempt to grasp a world intellectually is thrown into disarray by a glance exchanged with another, a doubling which simultaneously suggests the possibility of knowing – the neighbor and the narrator appear as familiar to one another as twins – and its impossibility: a 'moment of mirage and truth' (Quinn 1999, 15).
Or in some man-to-man talk asked your father.
So light will be our wedding-band.
Where Mahon writes of 'wind whistling off pale stars' and a 'ghostly echo from the clamorous dead,' Quinn has the sun's rays winding 'gold heat about us.' But if Quinn's wedding lyric lets in none of the dark melancholy of Mahon's, the point nonetheless stands. Quinn's own comments about Mahon bequeathing, above all, cunningly hidden 'louche rhymes' to a generation can be taken with a pinch of salt. What they offer is an insight into Quinn's own sense of Mahon's significance and the degree to which Quinn thinks of himself as reacting against Mahon when he moves into full rhyme and insists, in his poetry, on abandoning melancholy for a sense of connectedness.
Quinn's third collection, Fuselage, pushes against Mahon's 'irony and pathos.' It opens with a sense of belatedness that strongly recalls Mahon. Its first section speaks of 'evening light'; it is 'now getting late'; '[s]ummer weather' is a bonus (Quinn, 2000, 13). Even the 'joy' of spring is nostalgia. However, as Fuselage proceeds, it moves instead to an insistence that the postmodern, globalized age can be glorious. In the course of the book, we ascend into the sky in an airplane, look down on the whole world using Google Maps, and climb to a vantage point over tourist hordes in a spectacular London.
Objects for Quinn are really portals to systems; his poems are impatient with a gaze that would rest on an object and wallow in the melancholy of things, instead of looking to what is beyond the object. Although Fuselage is the key text in which this impatience is worked out, it is true of Quinn's body of work as a whole. Even when, in Privacy, he is detailing household items in a manner reminiscent of Ponge, his attention shifts to the electricity running through them – just one of the many forces that knits together things and us – and to the nuclear reactor with its 'ten transformer stations' that makes this connection possible (Quinn 1999, 20).
has taken all my love.
like mine will fall apart.
Rhyme, in this conception of it, imagines that the language connects us to each other when we choose the word rhyme suggests. Quinn's formal embrace of this sense of connectedness, which in some of his poems is roundly joyful, though in others beset with anxiety, is in part a reaction against the sense of melancholy in Mahon, despite Mahon's own use of rhyme.
by the fairy fort: a god is born.
The ideal society which will replace our own.
St Patrick, almost the French, in its time.
We think of the chorus of debris thrown up by the sea in Mahon's 'Beyond Howth Head' – 'Unbosomings of seaweed, wrack/industrial bile, a boot from Blackpool, /contraceptive deftly tied/with best regards from Merseyside' – and in 'The Apotheosis of Tins': 'we wake among the shoelaces and the white wood/to a raw wind and the cries of gulls' (Mahon 2011, 52; 2009, 69). In Mahon's latter poem, trash is 'promoted' to 'artefacts' fit for a museum, simply by surviving the ravages of time. 'Bray Head' is attentive, too, to the ways in which a change in perspective can make familiar things strange. As it rounds to a close, the landscape looms almost too large for the eye and the walkers struggle to contain it, seeking a detail that will return the landscape to comprehension in human terms. Unlike in Mahon's 'Howth Head,' the poem never swoops out beyond the scene to some greater wisdom. It remains hampered by what the poet can attest to seeing, what is unquestionably before him.
Hugh Haughton has focused in an article on Mahon's 'devotion to rubbish,' seeing in it a 'secular memento mori of the empire of the transient that is consumer culture' (Haughton 2002, 324). Reading 'A Garage of Co. Cork,' Haughton hones in on Mahon's meditation on the 'process of aesthetic revaluation' (Haughton 326). In the course of this process, an object moves between something functional, something aspirational – the 'retail catalogues' in Mahon's poem – and rubbish, the latter a 'sacramental' transformation because it is the closest the object comes to 'the materials that gave rise to [it]' (Mahon 2011, 122). But in Mahon's poem there is also a melancholy around all that cannot be grasped. (The same melancholy is found in the poem's predecessor, 'Filling Station' by Elizabeth Bishop.) 'A Garage' meditates on everything it does not know: the garage building might contain the ghosts of a family, or it might 'have nothing behind it but thin air' (Mahon 2011, 121). The family might have gone to South Boston or Cricklewood, or they might be still here, transformed into abandoned petrol pumps. 'Surely a whitewashed suntrap at the back/gave way to hens' begins one stanza, recalling the buttery lambency of a backyard in a poem by Heaney, but simultaneously casting doubt on its possibility with that 'surely' (Mahon 2011, 121). In a poem packed full of rubbish, each object upon which the eye falls offers the same melancholic conclusion: there only might have been something; either way, something is lost. Haughton ends his survey of Mahon's garbage with a quote from Michael Thompson's Rubbish Theory, which remarks of rubbish that 'we only notice it when it is in the wrong place. Something which has been discarded, but never threatens to intrude, does not worry us at all' (Thompson 1979; Haughton 2002, 92). With this quote, Haughton glances towards the fact that what characterizes rubbish 'when it is in the wrong place' is the same thing that characterizes a tool that ceases working: we notice it, and in that moment of noticing we perceive our everyday loss.
For Schwenger, who also draws on Rubbish Theory, provoking this 'noticing' is part of art's arsenal. In his analysis, Schwenger makes a distinction between 'object' and 'thing' which is helpful here. It is human language, he notes, which makes a thing an object: once named and recreated in language, a thing becomes the object of a subject. It is 'assimilated into the terms of the human subject at the same time that it is opposed to it as object – an opposition that is necessary for the subject's separation and definition' (Schwenger 22). This process of the objectification of things through language is never complete, however. 'The x that is the thing shadows the object as it is represented to our knowledge. In a paradoxical way, beyond our knowledge we always know something more, namely, that there is an unknowable otherness of the thing' (Schwenger 23). It is when we notice the 'unknowable otherness' of the thing that we are prone to Schwenger's everyday melancholy. Rubbish is useful to art that seeks to provoke such melancholy because it already inhabits a liminal space, in human perception, between the useful, the useless and – reclaimed as a collectible – the valuable (Schwenger 152). Its undecided status gives it the potential to make us notice all that is ungraspable about it.
still on the map but nowhere else.
a pram, a tyre, a handbag.
I write 'disposable'; and yet, in Wheatley's Dublin, debris is not so much ephemeral as 'constant – an enduring parallel universe of matter indifferent to human existence' (Schwenger 81). It brings constantly to our notice the 'unknowable otherness' of things.
In other words, the point of a sestina might be precisely to be 'strenuous and heavy-handed.' By this means, it can draw our attention to the fact that we impose form on words and world: all of it a game of language, none of it 'natural.' Wheatley's sestina uses surprising, whimsical vocabulary to describe Bray Head – 'pubic gorse,' 'a ferry scabs the sea,' 'a summit beacon brands the air' – as a constant reminder of the fact that these are ways of seeing the landscape which only a human mind could produce. Far from being a poem which, as Fran Brearton has it, 'captures, through the repetitions, a certain tranquility,' this is an anxious poem which dithers over our ever getting beyond ourselves and grasping the non-human (2012, 632).
This anxiety is not absent from Mahon's poetry by any means. But as the careers of Mahon and Wheatley progress, they diverge particularly in their approach to eco-poetics. The crux of this divergence is that Wheatley hews fast to the insistence on the gap between us and the world beyond us – an insistence which affects his poetry formally in interesting ways – whereas Mahon, in his eco-poetry, arguably breaks faith with that unfortunate but necessary gap between the human and the non-human. Wheatley stays focused on the melancholy that arises out of our recognition that we are trapped by our forms and by our perception of the world – divided from the real world of objects. He creates out of that melancholy.
The investigation in Wheatley's poetry of the gap between the human and the non-human is linked to environmental concerns. His critical work on Contemporary British Poetry devotes a chapter to the problem posed to contemporary poets who want to write about nature by their writing in an age of environmental catastrophe. Conceding the inescapability of an anthropocentric perspective in any act of writing by a human, he nonetheless rejects the option of 'giv[ing] up on the non-human altogether. As a piece of pragmatism this would seem petty and unimaginative' (Wheatly 2015, 138). He proposes instead that the poet might 'see the gap between the human and non-human as a zone of artistic possibility, in which concern for nature expresses itself through meditations on its fragility and essential alienness' (138). Within this melancholic zone he places the more successful poets in his chapter. This zone of melancholy is also a productive space in which to place Wheatley's own poetry. It is through his consideration of the insurmountable gap between the human and the non-human, which is increasingly central to his poetry over time, that Wheatley has produced some of his most exciting work.
'Bankside-Wilcolmlee by Instamatic' constructs itself out of a series of very short prose poems, several-sentence responses to 'point-and-shoot' photographs taken by a roving eye (Wheatley 2006, 15). The series begins with an unanswered question – 'Do they all lift, all these bridges, even this far up the river?' – which sets an unstudied tone and positions the poem's perspective as that of the photograph: on the ground, in the moment, and sharing with us only the surfaces of things. (In another poem, we might have expected the poet to do the work of finding out whether they all lift, all these bridges.) Visual information is presented as containing clues to the truth of the world, but these clues never resolve into a solution. 'A bicycle against a wall that would seem to suggest habitation' may or may not suggest habitation. A chimney seen from several different angles suggests different truths at different moments: 'The tipped cigar of the chimney shifts from side to side of the river, depending how far along the road you are.' To the poet's/walker's/photographer's putative enquiry after the truth, all the chimney definitely has to offer is the 'Up-yours' of a raised middle finger. 'Bankside-Wilcolmlee by Instamatic' demonstrates one possible mode for building a poem out of not-knowing. It inhabits delicately, and with humour and humility, the melancholic gap between the human eye and the non-human world.
The sloth's assertion of self-sufficiency – 'Am I/not there…?' – is piteous and cannot be taken at face value. It points up our own dependency on a world we cannot grasp.
This poem is suffused with the melancholy of a life that is lived as close to nature as possible, yet reaches no deeper understanding of birds, seals or stone. In the 'oily glare' of the cormorant lamp, 'nothing is illuminated' (76). Yet the saint's fate, finally becoming an object, is portrayed as a just reward for an exemplary life. A melancholic space of closeness with nature, where one questions without expectation of an answer, is taken by the poem to be admirable – even sacred.
Wheatley's frustration with Mahon's eco-poetics and Mahon's drawing back from modernist forms is part of what leads the younger poet to turn to Ian Hamilton Finlay. The strand of exploration in Wheatley that concerns itself with the gap between the human and the non-human comes to spectacular fruition in a kind of collaboration with (the late) Finlay, who, for Wheatley, is everything that later Mahon is not.
Wheatley responds to Finlay's work in his surprising and hilarious pamphlet The Reed Bunting Unseen: A Camouflage Garden for Ian Hamilton Finlay. For Wheatley, Finlay is one writer whose work 'overcomes the anxieties of its relationship to nature by, in many cases, becoming a physical part of it' (2015, 151). Through Little Sparta, a poetry garden, Finlay's work inhabits nature as fully as possible and paradoxically points up the insurmountable distance between itself and the natural world. At once a work of poetry and of criticism, elucidating and commenting on Little Sparta, Wheatley's Garden is best read as if it, too, were a garden. One wanders through it and spots new things each time; the poems are physical presences on its landscape. At least one poem cannot be seen from one place, but only by moving through the whole space of the text: the word FERRY, mimicking a slowly-moving ferry seen at different moments, can be spotted in parts at different points in the text. 'Sconser Trilogy' works like a comic strip of three frames, in which a gate post is represented by the word 'gate-post' and a briefly appearing buzzard by the word 'buzzard.' The final poem is a map of the horizon.
Wheatley's own pamphlet is full of moments where the natural world is imagined as a makar, a creator of the 'silent poetry' Finlay proposed concrete poetry to be. The sun erases morning dew, pebbles are chattered to sand, a bird denies our access to the name of the bird and the stone placed in a lochan makes an island. Herring gulls paint the ground with their excrement in the manner of Jackson Pollock. These acts of art are often jokingly imagined as proprietorial or aggressive in the manner of Finlay's own art. (As Wheatley tells us, Finlay thought of his garden as an 'attack' rather than a 'retreat.') They suggest the sense in which we might productively attempt to know the non-human without attempting to grasp it: by attending to its silent poetry, we might creatively inhabit the gap between us and it.
One question raised by Wheatley's textual garden is this: If we stayed in the melancholic space between ourselves and the non-human, long enough and attentively enough, might we not garner, like spies, something from the other side? We already know the answer must be 'no.' A melancholy that enabled such progress would have achieved mourning. And yet, because we keep yearning for the answer to be 'yes,' the answer must be 'no' again and again, without end. The melancholy we experience, faced with such an abyss, can paradoxically be a positive force for art. In contrast with the 'terminus of mourning, that healthy adjustment to reality,' Schwenger writes, 'melancholy prolongs itself: it is a desire, a yearning that refuses to conclude' (175). It is because we can never grasp the pebble that we must keep describing it.
The 'Metre' generation is one whose poetic inheritance enables a sophisticated and exciting use of form as a tool with which to think. A significant aspect of this inheritance is the early and intense encounter of this generation with Mahon's formally gorgeous and melancholic work. Attending to the ways in which Wheatley and Quinn work with and against Mahon's influence sheds light on the different trajectories of their own bodies of poetry, including the fascinatingly different formal routes they have taken. Quinn peels off into a poetry that seeks to reveal the individual's sense of alienation and melancholy as specious, disguising a connectedness with the world to which we must attend if we are to live authentically and well. Wheatley finds that only in acknowledging the gap between us and the world can we adequately respect that world's 'fragility and essential alienness' (2015, 138). Evidently, these poetries exist in a kind of opposition to one another. Yet a reader encountering them at this moment of unprecedented global connectedness, in a world poised at the brink of environmental catastrophe, might be persuaded of the truth and necessity of both.
F. Brearton, (2012). 'The Nothing-Could-Be-Simpler Line': Form in Contemporary Irish Poetry In: F. Brearton, A. Alan Gillis, The Oxford Handbook of Modern Irish Poetry. Oxford: Oxford University Press.
S. Burt, (2007). Sestina! or The Fate of the Idea of Form. Modern Philology August 2007 105 (1) : 218.
A. Hanna, (2015). Northern Irish Poetry and Domestic Space. Basingstoke: Palgrave Macmillan.
H. Haughton, (2002). 'The Bright Garbage on the Incoming Wave': Rubbish in the Poetry of Derek Mahon. Textual Practice 16 (2) : 323.
S. Jarvis, (2011). Why Rhyme Pleases. Thinking Verse I : 17.
M. Johnston, (2008). Dark Horse Among the Hippos. Dublin Review of Books, Available at http://www.drb.ie/essays/dark-horse-among-the-hippos.
D. Mahon, (2009). Collected Poems. Co. Meath: Gallery Press.
D. Mahon, (2011). New Collected Poems. Co. Meath: Gallery Press.
F. Ponge, (1996). From The Pine-Wood Notebook In: Mahon, Derek (trans.), Metre 1 Autumn; Available at http://metre.ff.cuni.cz/content/8.
J. Quinn, (1995). The O'o'a'a' Bird. Manchester: Carcanet.
J. Quinn, (1999). Privacy. Manchester: Carcanet.
J. Quinn, (2002). Fuselage. Oldcastle, Co. Meath: Gallery Press.
J. Quinn, (2011). Close Quarters. Oldcastle, Co. Meath: Gallery Press.
J. Quinn, (2015). Early House. Oldcastle, Co. Meath: Gallery Press.
P. Schwenger, (2006). The Tears of Things: Melancholy and Physical Objects. Minneapolis: University of Minnesota Press.
M. Thompson, (1979). Rubbish Theory: The Creation and Destruction of Value. Oxford: Oxford University Press.
D. Wheatley, (1997). Thirst. Oldcastle, Co. Meath: Gallery Press.
D. Wheatley, (2000). Misery Hill. Oldcastle, Co. Meath: Gallery Press.
D. Wheatley, (2006). Mocker. Oldcastle, Co. Meath: Gallery Press.
D. Wheatley, (2010). A Nest on the Waves. Oldcastle, Co. Meath: Gallery Press.
D. Wheatley, (2013). The Reed Bunting Unseen: A Camouflage Garden for Ian Hamilton Finlay. Co. Wicklow: Wild Honey Press.
D. Wheatley, (2015). Contemporary British Poetry. London: Palgrave.


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Bondi Beach (pronunciat bondai) és una popular platja i nom també del suburbi que envolta Sydney, a Austràlia. Segons el cens poblacional del 2006 la població estaria situada entre els 10.373 habitants. Bondi Beach és a 7 quilòmetres de l'est del districte de negocies del centre de Sydney, a la regió del govern local de Waverley Concil, als Suburbis Orientals. El barri és l'un dels major centres comercials i residencials de Sydney, i és considerada com la més cèlebre platja d'Austràlia. Per això se la considera com l'un de les majors atraccions turístiques de Sydney. La paraula Bondi o Boondi té origen aborigen i significa aigua que surt sobre les roques o so de l'aigua que sorgeix de les roques. L'any 1809 el constructor William Roberts en va rebre la concessió, i així successivament amb noms com Edward Smith Hall i Francis O'Brien. Això va permetre un desenvolupament important de la zona. Al llarg del segle XX Bondi Beach ha estat suburbi de la classe treballadora. Després de la Segona Guerra Mundial, els Suburbis Orientals es transformen en lloc d'habitatge de jueus vinguts de Polònia, Rússia, Hongria, Txecoslovàquia (avui Txèquia i Eslovàquia) i Alemanya.

Referències

Geografia d'Austràlia
Platges


Mar 20, 2013 by Hatch, W. H. P.
Mar 20, 2013 by Coe, George A.
Mar 20, 2013 by Fenn, W. W.
Vol 12: The Kingdom of God in Acts, and the "City of God"
Mar 20, 2013 by Foakes-Jackson, F. J.
Mar 20, 2013 by McConnell, Francis J.
Mar 20, 2013 by Munro, Dana C.
Mar 20, 2013 by Beale, Joseph H.
Mar 20, 2013 by Loewenberg, J.
Mar 20, 2013 by Montefiore, Claude G.
Mar 20, 2013 by La Piana, G. F.
Mar 20, 2013 by Neal, Herbert V.
Vol 2: What Have Facts to Do with Faith?
Mar 20, 2013 by Hayes, Charles H.
Mar 20, 2013 by Warbeke, John M.
Mar 20, 2013 by Drown, Edward S.
Mar 20, 2013 by Fenn, William W.
Mar 20, 2013 by Porter, Frank C.
Mar 20, 2013 by Barton, George A.
Mar 20, 2013 by Stewart, Herbert L.
Mar 20, 2013 by Kinnicutt, Lincoln N.
Mar 20, 2013 by Cadbury, Henry J.
Vol 5: What Is Driving Men Today Back to Religion?
Vol 5: Is Faith in God Decadent?
Mar 20, 2013 by Brown, Howard N.
Mar 20, 2013 by Jacks, L. P.


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Nimble Storage was founded and is run by industry veterans responsible for ground-breaking technologies and architectures around primary storage, backup storage, and data protection. They've built a tight-knit culture of innovation focused on changing the data storage game, taking a unique, bottoms-up approach to reinventing how the data for next-generation datacenter applications is stored, served, and protected.
Nimbus Data Systems, Inc. develops award-winning Sustainable Storage® systems, the most intelligent, efficient and fault-tolerant solid state storage platform engineered for server and desktop virtualization, databases, HPC, and next-generation cloud infrastructure. Combining low-latency flash memory hardware, comprehensive data management and protection software, and highly-scalable multiprotocol storage features, Nimbus systems deliver dramatically greater performance at a significantly lower operating cost than conventional disk-based primary storage arrays, all at a comparable acquisition cost.
In fact, up to 50x greater performance. Nimbus' all-flash enterprise storage systems leverage the incredible IO performance of solid state technology to deliver superior application performance to Server and Desktop Virtualization, Databases and OLTP, and compute-intensive HPC and Rich Media.
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Zerto provides enterprise-class disaster recovery and business continuity solutions for virtualized data centers and cloud environments.
Tintri has an exceptionally strong team. With a demonstrated track record of recent success — including key leaders from VMware, NetApp & Data Domain — Tintri's talent pool is unusually deep and accomplished. The fusion of pioneers from both virtualization and storage domains gives Tintri a unique perspective, unburdened by traditional orthodoxies and preconceptions.
From the beginning, Tintri has focused exclusively on storage for VMs. Tintri's founders identified the clear mismatch between traditional networked storage approaches and an elegant shared storage model for VMs. This sharp focus enables both pervasive simplification, as well as the creative application of key new technologies in service of furthering virtualization.
Tintri's vision is simple: everything in the data center should be virtualized. Our mission is to drive dramatically increased adoption of virtualization by providing a clearly superior alternative to traditional networked storage adapted to VMs. We believe that this is only possible with storage specifically designed for VMs.
Asigra brings a Cloud Model to backup and recovery – including the backup and recovery of mobile devices such as tablets and smart phones – through our Cloud Backup, Recovery and Restore software solution: Asigra Cloud Backup™ v11.
The business model is one of building and fostering partnerships. Asigra does not sell direct, but through a global ecosystem of Managed Service Providers (MSPs) and Resellers that are Powered by Asigra. We are not a MSP and there is no channel conflict between Asigra and our partners.
It's great to see all these companies on the Storage Field Day. A few of them I've met on Storage Field Day 1 in April,, and a few of them I know from meeting them on VMworld or other conferences.


Say you've held an investment for one year or less. Any profit from that investment is considered a short-term capital gain, and it's taxed at your ordinary rate.
But now let's say that you've held that investment for longer than a year – even just one year and one day. All of a sudden, you qualify for long-term capital gain (LTCG) treatment. Which is great news – LTCG tax rates can be as low as 0%.
If you are in the 39.6% tax bracket, your LTCG rate is 20%. If you're in a tax bracket between 25% and up to the 39.6% bracket, your LTCG rate will be 15%. Finally, if you are in the 10% or 15% brackets, your LTCG rate will be zero.
In 2016, the 15% bracket ended at $75,300 for married couples. So imagine a married couple with $80,000 in taxable income – $70,000 from ordinary wages and $10,000 from a long-term capital gain. Together, their taxable income exceeds the $75,300 limit, but they pay no tax on $5,300 of their capital gain – the point at which the 15% bracket ends. The additional $4,700 in capital gains would be taxed at 15%, the rate of taxation for people in the 25% tax bracket.
But by claiming additional itemized deductions or making a deductible contribution to their IRA in an amount up to or exceeding that $4,700, the couple in the example above would qualify for two tax breaks. They'd get the tax break from their additional deductions, allowing more of their LTCG and Qualified Dividends would be taxed at the 0% rate.
The moral of the story? Hold on to your investments! The favorable tax rate for long-term capital gains makes it well worth the wait.


Written for the fab folks at Need Supply Co.
It took journeying to the end of the earth, and a little beyond, to understand what I adored about travel. Surrounded by ice prone to glowing the most improbable shade of blue, penguins with a taste for wellingtons and whales who treated the waters of this snow-covered wonderland as their own private playground, it dawned on me; travel reminds us that, when removed from the reality of the everyday, we are part of something so much bigger. A natural landscape that dwarfs us, not only physically (it's impossible to even consider notions of 'big' and 'tall' as you watch a glacier crumble into sea at Mikkelsen Harbour, a surge of water rising away from the point of impact) but mentally. All those worries, stresses and uncertainly, they mean nothing when you spy a landscape such as this.
Perhaps that's what has always drawn the adventurous to Antarctica. Roald Amundsen and his epic adventure to the South Pole, the noble Scott, and Shackleton who had daring flowing through in his veins. Antarctica's magic and power has not dissipated. Locations read like otherworldly realms Paradise Bay, Deception Island, Neptune's Bellows and Elephant Point—calling now not only to the intrepid, but the fantastical too.
What has remained with me all these years later is not the immensity of Lemaire Channel (or Kodak Alley to those more film-inclined), a place where bergs are golden and the sea a mirror, but Pleneau Island — an iceberg graveyard. Here statuesque forms rise from the grey waters (some places just look better in stormy weather), assuming improbable shapes as they're ravaged by the elements. Having travelled the oceans they arrive here to find there is nowhere left for them to venture. There are other sights too—the National Geographic Explorer making its solitary journey across the expanse or Brown Station, which is red despite the name and reveals how harrowing this great southern continent can be; the last Argentinian scientist who manned it opted to burn the building down rather then face yet another solitary year on the ice.
This is the land of penguins—be they Adelies, who compensate for their lack of grace with sheer determination building 'penguin highways' through the snow, Gentoos who have a penchant for stolen pebbles and the most curious of all, the stout Chinstraps. A place where the sun either refuses to set or rise and the sound of breaching whales is carried on the breeze. You feel small, but not insignificant, just acutely aware that this nirvana, this fickle friend, is always there, waiting to remind you of your place in the world.


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Details for: Three essays on the theory of sexuality :
Three essays on the theory of sexuality : the 1905 edition /
by Freud, Sigmund [author.]; Haute, Philippe van [editor.]; Westerink, Herman [editor.]; Freud, Sigmund; Freud, Sigmund.
Material type: BookDescription: xc, 111 pages ; 21 cm.ISBN: 9781784783600 (hbk); 9781784783587 (pbk); ; .Uniform titles: Drei Abhandlungen zur Sexualtheorie. English.Subject(s): Sex (Psychology) | PsychoanalysisSummary: "The first edition of this classic work from 1905 shows a radically different psychoanalysis. Available for the first time in English, the 1905 edition of Three Essays on the Theory of Sexuality presents Sigmund Freud's thought in a form new to all but a few ardent students of his work. This is a Freud absent the Oedipal complex, which came to dominate his ideas and subsequent editions of these essays. In its stead is an autoerotic theory of sexual development, a sexuality transcending binary categorization. This is psychoanalysis freed from ideas that have often brought it into conflict with the ethical and political convictions of modern readers, practitioners, and theorists. The non-Oedipal psychoanalysis Freud outlined in 1905 possesses an emancipatory potential for the contemporary world that promises to revitalize Freudian thought. The development of self is no longer rooted in the assumption of a sexual identity; instead the imposition of sexual categories on the infant mind becomes a source of neurosis and itself a problem to overcome. The new edition of Three Essays presents us with the fascinating possibility that Freud suppressed his first and best thoughts on this topic, and that only today can they be recognized and understood at a time when societies have begun the serious work of reconceptualizing sexual identities"-- Provided by publisher.Summary: "The traditional story about the historical origins of Freudian psychoanalysis implies that the Oedipus complex was part of Freudian theory from the very beginning. However, in this first edition of Three Essays on Sexuality, first published in 1905 and never before translated into English, we find no reference whatsoever to the Oedipus complex. Is there a Freudian psychoanalysis that is not Oedipal? This first version of Freud's Three Essays articulates just such a non-Oedipal psychoanalysis. As such, it still has a definite 'emancipatory' potential; Freudian psychoanalysis is not Oedipal in its very nature. It is only from 1909 onwards that psychoanalysis tends to become a sophisticated defence of what Freud first called the 'popular opinion' about sexuality. It was precisely this 'popular opinion' that psychoanalysis originally was meant to deconstruct. Is there a Freudian escape - that is an escape that remains not so much within Freudian orthodoxy, but at least within its inspiration - from this impasse? If Freud has respected more systematically his own original thesis, could it be that the Oedipus complex wouldn't be the shibboleth of psychoanalysis? Not only is this first edition less Oedipal than is generally believed, but it also contains the elements for thinking a 'non-Oedipal' psychoanalysis; a Freud against Oedipus"-- Provided by publisher.
Book reviews by critics ( XXX )
BF 692 .F7413 2016 (Browse shelf) Available
"The first edition of this classic work from 1905 shows a radically different psychoanalysis. Available for the first time in English, the 1905 edition of Three Essays on the Theory of Sexuality presents Sigmund Freud's thought in a form new to all but a few ardent students of his work. This is a Freud absent the Oedipal complex, which came to dominate his ideas and subsequent editions of these essays. In its stead is an autoerotic theory of sexual development, a sexuality transcending binary categorization. This is psychoanalysis freed from ideas that have often brought it into conflict with the ethical and political convictions of modern readers, practitioners, and theorists. The non-Oedipal psychoanalysis Freud outlined in 1905 possesses an emancipatory potential for the contemporary world that promises to revitalize Freudian thought. The development of self is no longer rooted in the assumption of a sexual identity; instead the imposition of sexual categories on the infant mind becomes a source of neurosis and itself a problem to overcome. The new edition of Three Essays presents us with the fascinating possibility that Freud suppressed his first and best thoughts on this topic, and that only today can they be recognized and understood at a time when societies have begun the serious work of reconceptualizing sexual identities"-- Provided by publisher.
"The traditional story about the historical origins of Freudian psychoanalysis implies that the Oedipus complex was part of Freudian theory from the very beginning. However, in this first edition of Three Essays on Sexuality, first published in 1905 and never before translated into English, we find no reference whatsoever to the Oedipus complex. Is there a Freudian psychoanalysis that is not Oedipal? This first version of Freud's Three Essays articulates just such a non-Oedipal psychoanalysis. As such, it still has a definite 'emancipatory' potential; Freudian psychoanalysis is not Oedipal in its very nature. It is only from 1909 onwards that psychoanalysis tends to become a sophisticated defence of what Freud first called the 'popular opinion' about sexuality. It was precisely this 'popular opinion' that psychoanalysis originally was meant to deconstruct. Is there a Freudian escape - that is an escape that remains not so much within Freudian orthodoxy, but at least within its inspiration - from this impasse? If Freud has respected more systematically his own original thesis, could it be that the Oedipus complex wouldn't be the shibboleth of psychoanalysis? Not only is this first edition less Oedipal than is generally believed, but it also contains the elements for thinking a 'non-Oedipal' psychoanalysis; a Freud against Oedipus"-- Provided by publisher.
More book reviews at iDreamBooks.com


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What's Going on at BMW? Many Future/Current Cars Are Being Axed
BMW has established a long list of cars it plans to kill off, including a next-generation Z4 (sorry, Toyota).
Georg Kacherwriter
Financial talk can make one's eyes go crossed but bear with us. At BMW, the financial results for 2018 and the first quarter of 2019 were okay, but they were far from their usual brilliance. In fact, since 2015, BMW share prices in Europe have fallen from €122 ($137) to €65 ($73)—a decrease of 47 percent. Last year, earnings of the car division tumbled by 22 percent to €6.2 billion ($7 billion), while the return on investment fell from 9.2 to 7.2 percent. For this year, the first official estimate warned of a possible further decline to between 4.5 and 6.5 percent.
In addition to the tariff spat triggered by presidents Trump and Xi, numerous major investments are putting pressure on BMW's corporate budget, including new factories being built in Hungary and Mexico, an expansion of production capacity in China and the U.S., and converting existing factories to handle electrified models. Most recently, management put aside €1.4 billion ($1.6 billion) to fund a pending antitrust violation penalty initiated by the EU. The cost squeeze will turn from bad to worse if President Trump decides to actually impose the signaled higher import tariffs at the end of a six-month grace period.
While there is not much the executive team can do about the increasingly gloomy global economic situation, they do need to quickly redefine key strategic goals and product-related innovations. On top of the to-do list is the growingly critical fleet-emissions number, which needs to be decreased by 25 percent by 2021. Since missing this mark entails heavy punitive fines, BMW must pull out all the stops to get a lot more plug-in hybrids and full EVs on the road. At the same time, it has to find ways to make up losses incurred due to the declining interest in diesel engines. To meet these and other markers, CFO Nicolas Peter plans to save almost €13 billion ($14.5 billion) between now and the end of 2022 by speeding up the R&D process via simulation instead of prototyping, cutting the number of engine and equipment variations (every second option must go), and by preparing BMW for the day when its first new-generation electric car, the iNext, hits the market.
Partnerships and Dead Cars Rolling
Once bitten, twice shy—the Bavarians remain suspicious of any kind of extensive partnership ever since the ill-fated purchase of Mini, Rover, and Land Rover took the company to the brink of disaster back in 1994. In the past, BMW was at one time close to buying Jaguar; thought about a deeper partnership with Toyota; had quick flings with Opel, Morgan, and Bristol, plus a longer one with PSA; talked at length to McLaren about a joint supercar; and cultivated a yearlong love-hate relationship with Mercedes. Only a few months ago, BMW started supplying 4.0-liter V-8 engines to Jaguar Land Rover, who will in the not too distant future also get electric motors from BMW. But the numbers involved in that British connection are peanuts compared to the prospective economies of scale a cooperation with Daimler-Benz would yield, which we've detailed even further here. Although they failed to agree on a common PHEV/BEV platform, the two carmakers are currently discussing a joint component set for a low-cost electric sedan to be produced in China for the domestic market, where it would be cost significantly less than the to-be-discontinued four-door 1 Series sedan and pricey A-class sedan.
Like Audi and Mercedes, BMW is struggling to make money on cars that retail at less than €40,000, and roughly the same amount in U.S. currency. The rear-wheel-drive 1 Series, the 2 Series, and lower-trim 3 Series variants contribute very little if anything at all to the bottom line, and the company has established a list of doomed models. In addition to the three-door 1 Series, 2 Series Gran Tourer, and 3 Series GT, tombstones are being chiseled for the 2 Series convertible, standard-wheelbase 7 Series, Z4 replacement (sorry, Toyota), and both two-door 8 Series variants. If it wasn't Reithofer's personal darling, the 6 Series GT would also be head straight to the slaughterhouse in 2024. The 8 Series Gran Coupe will likely survive alongside the long-wheelbase 7 Series. While the X2 is also said to live on borrowed time, BMW has finally signed off the brand-new X8 which is mercifully not just a coupe version of the gargantuan X7. Instead, the board gave a green light to an emphatically sporty crossover which will be exclusively offered in M Performance and X8 M forms, and also sport a brawny M Power plug-in-hybrid powertrain that incorporates a 168-hp, 184-lb-ft electric motor and 60-kWh battery pack for zero-emissions driving range of up to 60 miles.
The Future of BMW i and Other EVs
As for the groundbreaking i3 and i8, the former will be phased out in its current high-tech and high-cost carbon-fiber form when its comparatively conventional replacement codenamed U15 arrives in 2022. Loosely based on the next X1, the i3 replacement will reportedly be available as EV and as fuel-cell vehicle. It is expected to come with a choice of 38- or 76-kWh battery packs, as well as offer a long-wheelbase version for China. The i8 is due for a redesign in 2022 when the shorter and lighter MkII effort dubbed i12 is due to benefit from a beefed-up 150-kW (201-hp) electric motor and a stronger, 340-hp 2.0-liter four-cylinder engine for a total of 544 horsepower—not bad for a flagship carbon-fiber sports car, but merely a token gesture compared to the proposed and canceled all-electric 680-hp i8M and the 750-hp plug-in i9, both of which would have required a complete redesign.
In 2021, BMW is going to introduce its overdue iNext halo car, which will likely be badged i6. According to a member of the project team, we can expect three different versions. Heat I is rear-wheel drive, features a 63-kWh battery pack, a 250-kW motor (335 hp), and a range of 285 miles. Essential target data include a curb weight of less than 5,300 pounds, a drag coefficient of 0.275, and a 4.5-second zero-to-62-mph acceleration time. Heat II is all-wheel drive, boasts total power output of of 320 kW (429 hp), uses a 92-kWh energy pack, can do the zero-to-62 run in 3.5 seconds, and promises a range of 350 miles. At the top of the performance tree, Heat III looks to charm with a 150-kW (201 hp) motor driving the front wheels and a 250 kW (335-hp) unit propelling the rear wheels, for a total of 536 horsepower. Insider information suggests that the highest-end iNext (which will later also be available with a 103-kWh battery pack) can beam itself to 62 mph in only 2.8 seconds. Even so, the range between pit stops is claimed to be a respectable 375 miles. Just as Porsche is preparing an S version of the Taycan Turbo, there is a 115-kWh i6S waiting in the wings. Pricing is at this point understandably still provisional, but we hear that the range will stretch from €72K to about €110K before options, with pricing of any U.S.-market models likely to closely align in terms of the numerals. While the top speed of the base i3 replacement is limited to 93 mph, the entry-level i6 is restricted to 125 mph. The next i8 however is claimed to be good for 160 mph.
A fully electric X3 variant is also coming, and it doesn't differ much visually from last year's Beijing Show concept. This late addition to the range due next year is RWD only. To keep the price down, the battery pack and electric motor are bottom-drawer items, with range an accordingly unexciting 155 miles. For model-year 2021, BMW is preparing the production version of the i4 (G26), which is in essence a battery-powered and re-bodied 3 Series with superior packaging and a super-cool cabin layout. In 2023, the wraps will come off the i7 based on the seventh-generation G70 7 Series out in 2022. Riding on the modular RWD CLAR matrix, G70 is the first new arrival that ticks all three boxes: internal-combustion, plug-in hybrid, and full EV. Although the i derivatives speak a somewhat different design language, the core architecture is identical across the board. Next to join the Bavarian zero-emission movement will be the i5 based on the future 5 Series (2023) and the iX5 earmarked for 2024 and based on the current X5 model.
Among BMW's EV components, the range of electric motors runs from 100 to 250 kW (134 to 335 hp), with a total maximum output of 500 kW being reserved for the M division. In the plug-in-hybrid (PHEV) department, the four-cylinder engines are to receive a 75-kW (101 hp), 150 Nm (110 lb-ft) electric power boost, with electrical energy stored in a 30-kWh pack. The corresponding numbers for the straight-six plug-ins are 100 kW (134 hp), 200 Nm (148 lb-ft), and 40kWh. The so-called "Power" PHEV system standard on the MPA V-8 and available for the 3.0-liter six ups the ante to 125 kW (168 hp), 250 Nm (184 lb-ft), 60kWh, and a silent, planet-friendly driving range of 60 miles. The above data relate to the Gen IV lithium-ion batteries which will are said to give way to more efficient solid-state technology around 2025. Charging time is another tall hurdle for the battery-toting cars; within the next five years, the the charging rate is set to increase in several increments from 120 to 350 kW. At the same time, the available voltage level is due to go up to 500 volts and eventually 800 volts. It's only then that forecasts predicting a drop in charge time to 10 minutes for smallish EVs and to well under 20 minutes for full-size electric SUVs will come true.
Ever since Chris Bangle started his career of hits and misses, BMW design was never as consistently outstanding as what Audi would deliver courtesy of Marc Lichte and as the Mercedes efforts penned by and under Gorden Wagener. From the overwrought Mini over the graceless 7 Series to the unpardonable Cullinan, the current breed of BMW Group cars is spoiled by grotesque overhangs, fake ducts and vents, distracting sculpting, weird angles, garish details, creases going nowhere, metaphorical slashes, and humongous grilles which cross the line from frivolity to embarrassing—just check out the XXXL lapse in taste on the X7 or the rodent-teeth caricature on the iNext. If polarization is the first step toward rejection, why is the board signing off on vehicles that look as if they were styled by someone under the influence? Sadly, this design philosophy extends to the interiors, where clear instrument graphics and intuitive ergonomics no longer feature. On the bright side of things, voice control is improving in leaps and bounds, and BMW not long ago decided to retain its trademark iDrive rotary controller until at least 2023 when the next 5 Series arrives. Whereas future M products—watch out for the next M3—are going to wear an even louder and more aggressive aesthetic, the appearance of the i performance models is fairly understated, sources say.
At the last annual meeting, Harald Krüger pleaded for an openness to different technologies as the best strategy to take BMW through the pending paradigm shift. Unlike VW chief Herbert Diess, who is wagering double-digit billions of dollars on EVs, his former employer seems to favor a step-by-step transformation. This may indeed be a prudent short-term approach, but what exactly is the winning formula for the year 2025 and beyond, when the evolutionary potential of BMW's FAAR/CLAR convergence platform comes to its limits? After all, the three-trick ICE/PHEV/EV pony will eventually be little more than a complex and costly compromise in a market set to be dominated by cheaper, simpler, and more efficient EVs. Meanwhile, BMW focuses its investment in a cleaner future on de-contenting FAAR/CLAR, bundling the assembly of PHEVs and EVs in designated factories, and clearing the fast track for smaller, lighter, and stronger batteries. Even though nailing the timing of EVs is of the essence, an unconditional commitment to electro-mobility might be years away in Munich.
The executive team could have solved this problem by teaming up with Mercedes and jointly creating a scalable PHEV/EV architecture. But at the end of the day, pride and the 'if it's not invented here, it's no good' mindset stalled the negotiations at the eleventh hour. With the exception of the aforementioned trial project for China, the no-go decision leaves both parties empty-handed and in a quandary. In the wake of an emergency board meeting in April, the leaders of the Mercedes car division agreed that the prospect of entertaining 10 different platforms through 2028 instead of only four as envisaged in conjunction with BMW was unacceptable. At the same time, their colleagues from further down south are hoping to get away with merely three variations (FAAR, CLAR, i8), but to provide for all eventualities, a dedicated EV matrix is said to be in the early stages of development. Instead of focusing, Mercedes-style, on two different sets of modules tailored for compact and full-size cars, BMW is said to favor a set of scalable subassemblies that would, in an ideal world, cater for the entire portfolio from 1 to 7 Series.
Inside BMW and Mercedes' Potential Partnership
2-Series Gran Coupe Driven: Baby Bimmer Sedan
The Long-Lost BMW Garmisch Concept Is Retro Rad
What's Up with Mini and Rolls
Great Wall Motors is in charge of the next Mini three-door, five-door, and MiniMini city car, but the future Countryman (think BMW X1), Spaceman (think BMW Active Tourer), and Sportsman (think X2/2 Series Gran Coupe) are going to tap BMW's FAAR components set. Meanwhile, augurs predict a second facelift for the current Mini range, which would extend the lifecycle by two years to beef up the brand's fragile business case. At the other end of the scale, Rolls-Royce is going to launch a new Ghost in August 2020 in standard- (RR21) and extended-wheelbase (RR22) forms. An as-yet-unspecified EV version has been penciled in for 2022. The follow-up to the charismatic Wraith (RR25) is also due in 2022. Two years later, the successor to the Dawn (RR24) convertible will be unveiled. The Phantom won't be renewed before 2027, when we expect the V-12 to be superseded by a V-8 and when phase II of the i7 drivetrain is likely to power the luxury division's EV spin-off. Although the Cullinan has an appointment with the plastic surgeon in 2022, even gifted new chief designer Jozef Kaban may need a magical moment or two to convert this monstrosity into a vehicle that inspires something more than derision and aggression outside its gated-community habitat.
2012 Hyundai Genesis 5.0 R-Spec
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