Steel systems construction is both a terrific value and addresses just about any low-rise commercial building need. From retail spaces to light industrial centres or even auto showrooms, Penniac Construction can provide you with a good-looking, cost-efficient space. Our pre-engineered construction partner, Varco-Pruden (VP) Buildings, allows you to customize the space to your preference, from the outside architecture to the specific interior needs of the space you wish to create. Through VP we can provide products from basic building elements, framing systems, and roof systems to finishes and accessories.
Please contact Penniac Construction to discuss your building requirements or for a simple Supply and Erect Proposal. Give us a call – if you could fax us a sketch of your specifications at 506-853-4142, it would be very helpful to us in generating a quote.


Between the festive celebrations and consuming humongous amount of tasty, traditional Polish food, I've decided to summarise my blogging journey so far. At the beginning of it, I set a schedule of posting every Monday. The series was to be called Marcel mumbles. I wrote (and made other people write) about the different aspects of being a PR student and expressed opinions about the industry. In this very subjective (just like my blog) list, I'm showcasing some of the most popular and my favourite posts published on MK.
One of the most popular series of posts on the blog. I shared some of my networking experience. I wrote about meeting people on the industry events, as well as while grabbing coffees with them. I also asked comms professionals about their advice.
Networking is not a rocket science. It's a bit of common sense, hint of bravery and a portion of people skills.
#2 What did two years in London teach me?
Moving to London was a massive change for me. It was a tremendous lesson and experience, too. For this post, I gathered some thoughts on what two years in London thought me.
London is one of the most important media centres in the world. The amount of agencies, specialising in the different practises, is stratospheric. This was an amazing news for me that meant I could start gaining experience at the smaller agencies, then learn from the biggest companies.
I spent two years working behind the bar of a coffee shop. I decided to write on how I benefited from it and how this experience will help me in being a better PR practitioner in the future.
My persuasive skills have been developed quite significantly, thanks to this job.
I wrote about my favourite medium — radio. I listed some of my favourite programmes and explained why every comms student should listen to those positions.
[Radio] provides me with insights, it's easily accessible and I can listen to it on my way to class, even without the internet connection.
#5 Guest post: MA in Public Relations – good investment or a waste of time?
A guest post by the lovely Kristina Lazarevic, masters PR student from my university (currently tech PR intern). She wrote a piece on her course and whether doing it was worth it.
MA in PR can be a very good investment in case you are not really sure what PR is about and you like to learn in an academic environment.


text:
Q: Big O complexity of three nested loops with the last loop in an if statement Suppose we have the following block of code:
sum = 0;
for(i = 0; i < n; i++)
    for(j = 0; j < n; j++)
        if(i == j)
            for(k = 0; k < n; k++)
                sum++;

In the book I'm reading it's stated that the complexity is O(n^2), thetha (n^2) to be precise, but I'm not sure why. When trying to calculate it myself I get O(n^3):

*

*Outer loop complexity is O(n)

*By the second loop the complexity gets to O(nˆ2) by following the nested loops rule

*The if statement would be true n times, so by the third loop the complexity would be O(n*nˆ2)

*The sum++ statement takes constant time, so complexity stays at O(nˆ3)

That's my logic, but it's flawed it seems. What is the reasoning for the O(n^2) complexity here?

A: The second loop runs n steps. Each step takes only constant time (evaluating the if statement) except for one step. The i-th step takes O(n) because the third loop is executed. So the second loop takes 2n = O(n) in total. So in total you get O(n^2).

redpajama_set_name: RedPajamaStackExchange


It's a warm, hazy afternoon in the Tuscan town of Lucca and I've just asked Luca Perezzi, one of the several co-organisers of the Lucca Film Festival, about the audience. Luca, who has already told me enthusiastically and at length about the origins of the festival, his love of cinema and the eclectic choice of films screening in this year's programme, seems a little weary at this question, a reluctance that seems at once playful and genuine.
I think it was John Hurt who once outlined the three criteria he considered when choosing a film project: the location, the people, and the quality of the film itself. One can gather from his filmography that he usually settled for one out of three—but if one applies those same criteria to film festivals, Lucca constitutes something of a home run: taking place in the eponymous, beautiful, walled medieval town of northern Italy; boasting an array of international guests including some of the most important (and, bizarrely, nicest) filmmakers, critics and curators working today; and screening some of the most remarkable and hard-to-see films of international cinema. With ingredients like this, one might wonder why the question of the audience would be a sore subject. Why wouldn't film lovers from near and far be swarming over the walls to be here? Hell, why isn't John Hurt here?
Did I mention that most of the aforesaid films and filmmakers were experimental? Yeah. That may have had something to do with it.
Experimental cinema (or avant-garde or underground or Expanded Cinema or whichever broad, generalising term you prefer) is not something one can describe definitively. In industry circles, it's often used loosely as a euphemism for that which cannot be articulated, explained or categorised within existing structures. It's a rather unthinking, reflex and catch-all use and it's largely used dismissively—but it actually provides a rather sound basis for a working definition, albeit a negative one: experimental cinema as all cinema that does not take anything for granted; that does not accept any preconditions whether social, cultural, intellectual (other than those that it determines for itself); that refuses to uncritically accept any of the assumptions implicit in mainstream cultural production and distribution (and as an extension—though it's another article in itself—any assumptions implicit in our society).
In case the implication isn't clear: yes, that means, theoretically, experimental cinema can be anything. But while that "anything" is often misconstrued as synonymous with randomness, a reckless anything-goes approach to art-making that justifies masturbatory irrelevances, (good) experimental cinema, like all art, is not astructural or aformal (although that's not to say some kinds of arbitrariness can't be used as a structuring principle, vis-à-vis Pollock)—the point is simply that their forms and structures are not borrowed or enforced from the dominant culture; they are built from scratch, restricted only by the artist's imagination and the limits and possibilities of his tools.
As a consequence while the mainstream of cinema, including most independent narrative cinema, has developed in one particular direction over the past century (and hasn't really developed all that much), with even its most dissimilar and contrasting examples sharing many of the same fundamental principles—in experimental cinema one can find works so divergent, so utterly un-similar that to use the phrase "poles apart" would be extreme understatement. Films from avant-garde greats such as Stan Brakhage or Bruce Conner operate according to such different assumptions that they might as well be from different solar systems. Because of this disparateness, experimental cinema is perhaps best described as, in blogger Tom Sutpen's words, "a cultural attitude rather than a particular work or body of work or mode of expression".
What seems to me essential is that experimental and avant-garde cinema should be thought of not as a marginal, minor and different cinema, which it is only from an economic and social point-of-view: from a formal viewpoint experimental cinema is the whole of cinema—it explores all its potentialities.
While Lucca features several narrative large-scale feature films in an inclusive programme that sees the Taviani brothers scheduled alongside the idiosyncratic Spanish underground filmmaker Adolfo Arrieta—the overall layout of the festival's eight-day programme belies an overwhelming emphasis on experimental cinema, and serves as a fine starting point for exploring some of those potentialities Brenez outlines in her article.
Michael Snow is, at 78, one of the world's most well-regarded experimental filmmakers, and was Lucca's major guest of honour, with a retrospective of his films being screened spanning almost half a century. The Canadian artist (he's also a sculptor, painter, photographer and musician) came to light as part of New York's burgeoning experimental scene in the '60s and has since been hailed as a master of "structuralist cinema", a stream of the avant-garde more concerned with exploring the formal and physiognomic aspects of film than in using it as a means of representing something else. While most of Snow's films employ long takes that are quite directly "representational", these images are usually emptied of action and narrative (or at the very least any action is pushed to the periphery) and the focus is instead on particular formal properties of the image.
In his most famous film, Wavelength (1967), the camera gradually zooms in, over 45 minutes, from a wide shot inside a New York loft to a close-up of a photograph on its wall. In Back and Forth (1969), the focus is on an even more elemental property: panning. The 52 minute film takes place in a classroom at different times of day, with the camera constantly moving, back and forth, from right to left at an accelerating speed, until both directions merge into a dazzling blur. In So is This (1982), probably Snow's funniest film, the 43 minute running time consists only of the (extremely long) title of the film, presented one word at a time. Beginning with "This is the title of this film" (and occasionally reminding us "This is still the title of this film"), the film goes on to reflect on its own intriguing formal potential (eg, the way the size, colour and editing rhythm of the words effects our reading of them in a uniquely cinematic way) and also features some really funny puns.
Snow's work is unusual among experimental work in that its strong conceptual basis makes it eminently describable—yet articulating its value and importance beyond the novelty and extremity of its premises is not so easy. A case can be made that Snow's work is restricted by its coldness, its lack of feeling—and almost all of Snow's works, from the '50s to today, feature neither traditional humanistic concerns nor an interest in personal relationships or emotions. But the key difference between his work and most contemporary conceptual art is its central experiential aspect, something which a brief conceptual outline can never encompass. Snow's works may begin with an almost scientific curiousity in formal possibilities, but the finished films are successful to the degree that they absorb you in an intense cinematic experience that could not be achieved without Snow's formal experimentation. The concepts structure the experience rather than being the experience itself. In theory, the idea of a camera panning back and forth for close to an hour may sound like a clever idea or a perverse waste of time, depending on your disposition—but as an experience it creates an alien vision of space and time that is so all-consuming it can quite literally alter your perception of the world. Snow's concepts may be cold, but his films offer new visions of experience that are anything but dispassionate.
The films of the late Guy Debord formed the other main retrospective of the festival, and exemplified an avant-garde approach that was conceptual in a very different way. Debord is best known as the philosopher-in-chief of the Situationist art movement of the '60s, and as the author of the great cultural treatise The Society of the Spectacle—but his much-neglected filmography is one of the best examples of the intellectual or essayistic stream of experimental cinema of which Jean-Luc Godard is perhaps the most famous example. Starting from the central premise that industrial, capitalist civilisation operates and maintains itself through processes of alienation—alienating individuals from each other, workers from the products of their labour, etc—Debord developed a body of theoretical and practical work that favoured the creation of "situations" and the subversion of everyday life. Debord's theory saw the separation of art from life as part of the greater industrial process of alienation, and for him the cinema, in which spectators sat passively in the dark and consumed images made by others, was the greatest example of this. His commitment to cinema, therefore, is somewhat perverse, a kind of oppositional stance taken from within the medium itself—essentially a form of the subversive technique known as détournement that Situationists applied in many areas of life.
All of Debord's films are strongly text-based, the soundtrack usually consisting of almost nothing but voiceover (usually read by Debord himself), to which the images (often stock footage from newsreels, advertisements and Hollywood movies) are always treated as secondary and untrustworthy. Debord's films are clearly not experiential in the same way as Snow's; his consistent narration insists on intellectual engagement rather than sensual absorption, and his vision of cinema seems to treat it less as an art of images than as a microscope under which to deconstruct and critique images. Yet Debord's inherent opposition towards the medium often cannot restrain an aesthetic flair. His 1967 film, The Society of the Spectacle (probably the most faithful film adaptation of a book ever made), punctuates its analysis with melancholy musical refrains, and its images of Paris street life are frequently stunning, all adding to a subtle emotional undercurrent that Brenez described as "a unique formal rehabilitation of feeling". Nonetheless the strongest aftertaste of Debord's films was for me a sense of works painfully aware of their own insufficiency, films that wanted to thrust you away from cinema and out into the world,.
Many of the films of Snow and Debord are now available on DVD and, as cultural figures, they are relatively well established internationally—but one of the best things about the Lucca Film Festival's eclectic inclusivity is its support of virtually unknown experimental filmmakers alongside these established "heavyweights". Two showcased filmmakers of comparable seniority and worth but much less renown, were Aldo Tambellini and Adolfo Arrieta. Tambellini, an Italian-American who was actually raised in Lucca, is a little known figure of the '60s New York art scene and a pioneer in video art who exhibited alongside the likes of Nam June Paik. His Black series of short films are excellent models of non-figurative filmmaking, the limitations of a monochrome palette (these films are very much about black) only serving to heighten the textural quality of his images. The films use various innovative techniques from painting directly on celluloid to video-based experiments that included redesigning a TV cathode ray tube so that it only generated abstract images. Arrieta's two short films from the '60s, presented in recently recut versions, El Crimen de la Pirindola and La Imitacion del Angel, are beautifully lyrical works that combined an almost innocent love for adventurous narrative and cinematic illusion with a raggedly offbeat handmade style of filming, which infused his somewhat fantastical stories with a documentarian's (or perhaps home-movie maker's) openness of vision.
Perhaps the most remarkable and privileged event of the festival was the surprise screening of Hungarian filmmaker Miklós Erdély's Dream Reconstructions (1977), which has rarely been shown since it was first made in Hungary's legendary Béla Balázs Studio (an experimental film house funded by the communist state on the condition that the films would never be seen publicly). Reconstructions is marked by a brilliantly debased conception of time and space involving fast-forwards, rewinds, and whole scenes of conversation between people and projected images—all of which seems quite literally avant-garde in its anticipation of our increasingly mediated and media-infused reality. Speaking of which, a fine example of the experimental possibilities of one of those media—the consumer video camera—was the latest film by Stephen Dwoskin, another long-standing figure in experimental cinema who was subject of a retrospective at last year's festival. Nightshots (1,2,3) (2007) is a beautiful half-hour trilogy of portraits of women that, despite being shot Paris Hilton-style on lo-fi nightvision DV,created astonishing and haunting images of intimacy and physicality.
However, the most wide-ranging programme of experimental film at the festival was emphatically "old school" in its emphasis on celluloid. Pip Chodorov, head of the French distribution company Re:Voir and a filmmaker himself, gave a two-day lecture on the history of experimental cinema for local high school kids. Screening 16mm prints of some of the most important avant-garde films of the 20th century, Chodorov covered wide ground, from the early animated experiments of Hans Richter and Oskar Fischinger through the '60s work of Paul Sharits and Robert Breer (exploring the effects of single-frame or "flicker films"), Stan Brakhage (painting directly on film), Jonas Mekas (author of the epic and visionary home movie collage Walden ), to more recent works by Martin Arnold (remixing found footage) and Jeff Scher (manipulating film directly with chemicals). Chodorov consciously leaves video out of the picture, focusing instead on how the particular material properties and possibilities of film instigated the form of many of these works; he's also a vocal proponent of screening films on film, comparing a video transfer of a film to a "photocopy of a painting".
Above is just a brief overview—I haven't even mentioned the excellent and wide-ranging series of Italian feature films screened (suffice to say: don't pretend you know Italian cinema until you've seen the films of Carmelo Bene, Tonino de Bernardi, Marco Ferreri and Maurizio Ponzi). But what this should suggest is that work that comes from this experimental "cultural attitude" opens up not just the formal possibilities of cinema (that are so often ignored, denied or derided) but the possibilities of the kind of experiences that are possible within a movie theatre: a whole range of emotional, intellectual, perceptual states (some ecstatic, some enervating) that narrative cinema, even at its most innovative, its most beautiful, and for all its own sovereign strengths, simply cannot encompass.
For those willing to forgo the handrails of the conventional experience and dive in, the only conclusion is that Brenez's right. This shouldn't be called Expanded Cinema or considered some exception to the rule. The mainstream work should be the anomaly; it should be called Restricted Cinema; the exception to the unruly.
Since experimental cinema is by definition working outside of the familiar, expected and assumed, its position is always going to be peripheral. In a small town in Tuscany which for all its charm seems principally geared towards facilitating rich tourists, that periphery is inevitably even more peripheral—and the question of the audience is always a delicate one, as Perezzi's response indicated at the beginning of this article. But the organisers' practical response to this has been impressive: rather than being simply a local festival, confined by the cultural limitations of that locality, or attempting to dilute the festival's content to appeal to "everyone", they have instead made an effort to become an international focal point for those already engaged in this peripheral but essential world. To that end, this year saw a total of some 60 invited guests attend the festival, including filmmakers, actors, critics, curators and film-lovers from across America, Australia, France, Greece, the UK and Ireland.
This makes Lucca a pretty idyllic hangout if you love experimental cinema, but what makes it transcend the rather touristic trinity of criteria espoused by Hurt is the experimentalism in the very design of the festival itself—in other words, the way it co-ordinates and engages this rich panoply of films and people.
Film festivals primarily exist in two, often combined guises: as a consumer-focused, film-going extravaganza where one has the chance to see films before they're officially released (and most films that make the selection will be); and as a producer-focused marketplace for the buying, selling and promotion of films. The biggest festivals usually find some room for the avant-garde in their programme (the "Forum Expanded" section of the Berlin Film Festival is the only place I've seen innovative selection on a par with Lucca, and I've heard the experimental sections of the London and New York film festivals are comparably rich)—but this is only because they exist on such a giant scale that they have the luxury of incorporating the marginal. The key point is that they still treat it as marginal; that is, they accept the delineations of cinema as defined by the market.
It also helps that many of the films screened are expansive in such a way that they even refuse constainment within the comforting bracket of "cinema." Many experimental films incorporate disciplines typically confined to other areas of art, and some reject the traditional exhibition paradigm of the viewer/dark room/big screen. You can't, for example, do a retrospective of Snow without dealing with his engagement in the other arts, as well as his film work designed for alternate forms of exhibition. The very nature of the films being shown seems to push Lucca beyond the realm of cinema. So we get: exhibitions of the installations, photography and sound works of Snow, and also of Tambellini; live performances by festival guests, such as a reading by Marta Hoskins, (star of Keja Kramer's short film Skyrocket  which was also screened); a concert of music composed by Isidore Isou, a leader of the Lettrist movement from which Debord and the Situationists emerged; a screening of super 8 home movie footage with a live score by local electronic band MAIS…. And, as well as Pip Chodorov's classes, the cinema was used outside the festival proper for impromptu "social" screenings, where people who had their film with them were allowed to show them for whoever was around, inbetween officially scheduled films.
Then there was the extent to which the festival was actually a film production in itself. Since its inception in 2005, Lucca has seen several significant filmmakers make work while at the festival. Arrieta shot much of his most recent film Vacanza Permanente (2006), at the festival's inaugural year, and premiered it in Lucca the year after. This year, several films were screened that were shot at the festival last year, including River of Anger (2007, Antoine Barraud), an experimental documentary on last year's major guest, Kenneth Anger, and Steve Is (2007, Silvia Palermo), a fascinating interview with Stephen Dwoskin. The number of cameras, both film and video, floating around the festival this year suggest that this is a tradition likely to continue and expand.
Cinema as situations? Put another way: a cinema that we interact with, that goes both ways and that involves the creation of a space in which we act, and act differently, and in which different things are possible than in the established, mainstream cultural spaces of our society. Even though the festival is in a way disconnected from its own locale (the people of Lucca have yet to fully embrace it, shall we say), it is localised in a very beautiful way, as in: this is it, happening right here, right now. It's a new locality, a locality of new possibilities, that is nevertheless here. It's one that the Lucca Film Festival built.
The same goes for film festivals.They can be anything we want them to be, and we should remember that.
This article was published in the Fall 2008 issue of Filmmakers Alliance Magazine.
A revised version appeared in the Summer 2008 issue of Experimental Conversations.
My interview with the organisers of the Lucca Film Festival can be read here.


text:
Home College and Campus Science Engineering Health Business
Developing a vaccine revolution: Imperial experts take on global epidemics
by Thomas Angus [Photographer], Joanna Wilson 24 May 2019
Professor Robin Shattock
Imperial's work to develop smarter, more effective and flexible vaccines was showcased to a global audience from government, industry and charities.
Scores of diplomats and policymakers, including science attachés from Germany, France and China, heard talks from leading vaccines experts at the latest Imperial Global Science Policy Forum event.
Vaccines are one of the great success stories of modern medicine, having eradicated or controlled many severe infections of major global importance, improving the lives of millions across the world. Despite this, numerous infections cannot yet be prevented, and major hurdles remain to developing effective vaccines against these conditions.
Enormity and diversity of the problem
The fifth Imperial Global Science Policy Forum event introduced the vaccines landscape in the UK, highlighting how the government and leading universities are responding to global challenges through vaccine research and development.
Although vaccines have been a success story, and global health is improving, it's not solved and there is still much work to do in this space. Professor Robin Shattock Head of Mucosal Infection and Immunity, Department of Medicine
The audience had the opportunity to hear from Professors Robin Shattock, Wendy Barclay and Jason Hallett, key researchers in the field of vaccines, as well as the chance to learn more about the Imperial Network for Vaccine Research, which supports vaccine research, development and production.
Danny Altmann, Professor of Immunology in the Department of Medicine, opened the event by highlighting the "enormity and diversity of the challenge of vaccine research and vaccine development," and the need for a multidisciplinary approach.
Professor Danny Altmann
Future Vaccine Manufacturing Research Hub
Professor Robin Shattock, Head of Mucosal Infection and Immunity in the Department of Medicine, introduced the Future Vaccine Manufacturing Research Hub, which brings together a huge range of different disciplines to both develop vaccines and take them into early-human clinical testing. Through strategic partnership with researchers, national centres and industry, the Hub aims to revolutionise future vaccine manufacture, especially in developing countries.
Professor Robin Shattock in the lab
Professor Shattock explained how alongside clean water and sanitation, vaccines are one of the most effective public health measures, so far preventing over 3 billion disease cases. He also explored "vaccine hesitancy": where people no longer experience outbreaks like measles, public attention can shift to supposed side-effects rather than the diseases being prevented.
He said: "Although vaccines have been a success story, and global health is improving, it's not solved and there is still much work to do in this space."
Building a vaccine revolution
Professor Shattock also discussed his work on the manufacturing of RNA vaccines to create quicker and more accessible responses to outbreaks of known pathogens, such as a flu, and unknown pathogens, called Disease X. Most countries, he said, do not have the infrastructure that could respond quickly enough to have an impact in such a situation.
His team is working on synthetic RNA vaccines, which harness the body's own cell machinery to make an antigen (a foreign substance that induces an immune response) rather than injecting the antigen directly. This technology is viable and allows regions and cities to manufacture their own vaccines – these are "globally approved but locally made."
For every month's delay of a vaccine in the case of a pandemic respiratory virus, scientists anticipate 5 million deaths. It is developing countries that would see 80% of the fatalities, yet they are least prepared. He added: "If we don't want to wait in line for a vaccine, we need to move away from a single-source manufacturing approach, to having a distributing network, in order to ensure that different parts of the world could respond quickly enough."
Professors Robin Shattock, Jason Hallett and Wendy Barclay
Heat-stable vaccines
Jason Hallett, Professor of Sustainable Chemical Technology in the Department of Chemical Engineering, works on thermal stabilisation of vaccines, allowing them to exist in room temperature without destroying their efficacy.
Most medicines, including vaccines, are made in central locations and then shipped around the world – to do this, vaccines have to be kept cold in order to keep them stable. Keeping vaccines cold is responsible for up to 80% of the cost of vaccinating a person.
Professor Jason Hallett
Professor Hallett has designed salts that could act like water and protect the structure of the vaccine, even when hot. This would make vaccines more affordable and more accessible, so they could be shipped anywhere in the world, stored on shelves indefinitely and wouldn't have to be kept only in large hospitals.
Stopping a pandemic at source
Professor Wendy Barclay, Action Medical Research Chair in Virology in the Department of Medicine, works to determine whether it is possible to stop a pandemic from emerging in the first place.
The source of all influenza is in wild birds (ducks and geese), and this avian virus can jump into farmed animals (pigs and chickens). This is a stepping stone for the virus to jump into humans, and people exposed to infected chickens can catch potentially fatal bird flu.
Professor Wendy Barclay
Professor Barclay and her team hope to stop the virus from being able to replicate in the farmed animals, which would prevent the next influenza pandemic at source. She said: "What we're envisaging here is a barrier or a buffer between the wild birds and humans. That would be farmed animals that can't be infected at all by wild influenza viruses."
Professor Barclay works with the Roslin Institute, using CRISPR gene-editing technology to engineer the genomes of farm animals to make them resistant to influenza.
Vice President Maggie Dallman welcomed the guests and speakers to Imperial, emphasising the Forum as being a "really good platform for connecting and convening our international and external partners, to focus on some of the world's most important challenges."
The Imperial Global Science Policy Forum (IGSPF) is a high-profile programme of events designed to connect senior international science, education and innovation advisers to Imperial researchers, industry experts and other relevant stakeholders including parts of UK government.
The programme of events focuses on some of the most important global challenges, from smart cities and future health, to artificial intelligence, and showcases Imperial's creative, international and multidisciplinary scientific research and technological innovation.
Image credits: Thomas Angus
Article text (excluding photos or graphics) © Imperial College London.
Photos and graphics subject to third party copyright used with permission or © Imperial College London.
Thomas Angus [Photographer]
Communications and Public Affairs
Email: t.angus@imperial.ac.uk
Show all stories by this author
Joanna Wilson
Email: joanna.wilson@imperial.ac.uk
Events, Drugs, Influenza, Infectious-diseases, Drug-discovery, Global-challenges-Health-and-wellbeing, International
Your comment may be published, displaying your name as you provide it, unless you request otherwise. Your contact details will never be published.
Name (required) Email (required) Message (required) * please state if you do not wish your comment to be published.
Diplomats and industry leaders discuss future of AI at Imperial forum
Diplomats see White City vision emerge
Leading academics reveal how innovation is tackling global health challenges
Department of Immunology and Inflammation
Professor Jason P Hallett
Professor Wendy S Barclay
Imperial Enterprise - Making connections in vaccine research
College and campus
Hospital crisis
Staff 'need clearer guidance' as COVID overwhelms ICUs
Allergy analyses and prestigious professorships: News from the College
Imperial leads new consortium to study threats from new SARS-CoV-2 variants
1 COVID-19 MORTALITY :
COVID-19 deaths: Infection fatality ratio is about 1% says new report
2 Threat monitoring:
Comment on Traces of ancient rainforest in Antarctica point to a warmer prehistoric world: The magnetic pole must have shifted to bring it to the state of todays barren ice... does anyone hav…
Comment on Eating insects makes sense. So why don't we?: Insects are a part of creation that should be conserved, with all creation. Fun fact: In insect cuti…
Comment on £7.2m quantum network will develop technology to probe Universe's mysteries: Earth and Moon attract each other. There is no action at a distance. Both Earth and Moon influence t…
About Imperial's News site
More news and events
Daily news digest (internal only)
Events bulletin
Imperial Today delivered directly to your inbox every weekday morning.
Campus maps and information | About this site | This site uses cookies | Report incorrect content | Log in

redpajama_set_name: RedPajamaCommonCrawl


Shop for elegant dark coral prom dresses from DHgate Australia site at an affordable price. We are proud to offer you numerous options but all full size prom dresses online are stylish and sophisticated with reasonable prices. To design your prom dress hi lo sweetheart that fits your personality perfectly, we provide comparison on styles, sizes, colors in appropriate ways. All you need to do is checking a host of filters and select the best occasion prom trumpet special dresses in a simple way. If you want to see how cute things could become, buy cheap designed dresses for prom from au.dhgate.com with free delivery to Australia right now.


On February 24, 2011, Barbara Meister of SureHarvest will be giving a presentation on the Stewardship Index at USDA's Agriculture Outlook Forum: Today's Strategies and Tomorrow's Opportunities. The session, titled "Sustainability Partnerships: Standards, Metrics and Markets" will take place at 1:45. If you will be at the Forum, please stop by to learn more and show your support for the Stewardship Index.
Overview: "Sustainability Partnerships: Standards, Metrics & Markets"
U.S. agriculture and food system firms face unprecedented opportunities and challenges in meeting demands for sustainability. Conceptions of sustainable food systems continue to evolve and, worldwide, environmental, economic and social conditions vary widely. Yet, despite the uncertainty surrounding definitions, measurement and public policies related to sustainability, powerful forces are leading to innovative and dynamic partnerships for sustainability. This session will investigate how these partnerships can produce meaningful information upon which to base sustainability decisions throughout supply chains and to build and satisfy market demands for sustainable consumption and production.


Liam is our go-to, our fixer. If you want something sorted, it's been done before you even knew you needed it.
With a background in Production Management, Liam has mastered the skill of plate spinning, handling all manner of things – be it print production, project management, internal operations or more, he's got the knowledge.
With a second background in music production, Liam is also our in-house composer for video content, working across a number of clients such as Thankful and ANA.


Published 04/24/2019 02:49:58 pm at 04/24/2019 02:49:58 pm in Small Brown Coffee Table.
small brown coffee table stanley round small space dining table dark brown sienna aiden lane amazing deal on lorraine coffee table small rustic brown lorraine coffee table small rustic brown.
lorraine coffee table pottery barn , decorations light brown wood coffee table small end tables for sale full size of decorations narrow white coffee table small glass and wood coffee table coffee table , amazoncom ok furniture round coffee table for living room ok furniture round coffee table for living room farmhouse cocktail table with open shelving, small round cocktail table interesting coffee tables small coffee small round cocktail table round wood coffee table beautiful coffee tables ideas best small round coffee small round cocktail table , small leather ottoman small round ottoman coffee table tufted small , coffee table captivating affordable coffee tables design narrow end outstanding brown round ancient wooden affordable coffee tables varnished design, exceptional small coffee table mini bar or bedside table in pine small coffee table mini bar or bedside table in pine from sweden s, coffee tables crate and barrel yukon natural small rectangular coffee table, stanley round small space dining table dark brown sienna aiden stanley round small space dining table dark brown sienna aiden lane, brown lifttop coffee table wstorage computer desk end table tv brown lifttop coffee table wstorage computer desk end table tv tray furniture, cottage coffee tables laminate brown high quality premium wonderful white and brown coffee table low small round ashley mckenna with storage in dark whi ivy tempered glass coffee table brown .


text:
MEP COVID-19 RESPONSE
The rapid and global spread of the COVID-19 virus has brought with it challenging future implications for conservation, particularly elephant conservation in Kenya. Mara Elephant Project (MEP) is deeply concerned about the pending socio-economic downturn that has been predicted and what that means for the communities we work so closely with to protect Kenya's iconic elephants and the Mara ecosystem.
MEP would like to take this opportunity to update you about our response to the current situation during this devastating global pandemic. MEP is taking the COVID-19 situation very seriously and continues to reinforce and abide by all national and international guidelines to help reduce the spread of the virus and protect the health of MEP staff and the surrounding communities. At our headquarters in Lemek Conservancy, situated 10 km from the National Reserve, we have instituted an isolation policy amongst staff, set up hand washing stations and implemented a mandatory two-week stay at a quarantine camp for anyone who may have potentially been exposed. Continuing our efforts to support the communities, MEP has also provided extensive educational materials and training to all of our employees and encouraged them to be good examples of proper hand washing techniques, social distancing and protective techniques to minimize exposure.
Given the gravity and global scale of the pandemic, both national and global economists have predicted a dire economic downturn despite the tremendous efforts being taken across the board to secure economies. Apart from the acute threat of the virus to people's health, the current economic downfall will seriously threaten wildlife and protected areas, which depend on tourism revenues. As economic hardships increase for local communities, the resurgence in elephant poaching and the illegal wildlife trade are likely consequences of the pandemic. MEP is closely monitoring the situation by keeping ranger teams in the field to continue their essential patrol duties but have isolated them deep within the Mau and Loita forests. We have already seen an increase in human-elephant conflict and habitat destruction, and we are doing our best to protect farmer's crops by reacting to these reports. MEP also plans to continue operating the Karen Blixen Camp Trust 5Y-MEP helicopter to provide aerial monitoring, support key government partners and respond to emergencies.
"As a frontline conservation organization, Mara Elephant Project is reacting in real-time to the rapidly changing environment as a result of COVID-19. I commend our teams and all of our partners on the ground for their active continued work within the restrictions they have to comply with. MEP will remain steadfast in our commitment to the national and county government's security and community support mechanisms. Never in any of our lives have we dealt with anything like what is happening now. Over and above our wildlife and habitat conservation work, I pledge that we will adapt to meet this, and future challenges and we will do our best to fight this pandemic together."
Mara Elephant Project Chairman Colin Church
The COVID-19 pandemic has underscored how fragile humanity's term on earth can become with abuse of the natural world either through habitat destruction or illegal wildlife trafficking. A current theory suggests pangolin meat bought from 'wet markets' in China may be the cause of the current pandemic. MEP's wildlife protection activities in the Mara, although centered on elephants, extends to other species such as pangolins by providing boots on the ground protection and intelligence gathering. MEP is therefore in agreement with the approaches needed to eradicate the illegal wildlife trade to help prevent future outbreaks of zoonotic disease.
We see this crisis as an opportunity to positively reframe our relationship with the natural world and, when the pandemic is over, we believe we will be a stronger and more united community in the Mara.
With many salaams and best wishes to all,
MEP CEO Marc Goss
Kenya Wildlife Service released a video on hand washing protocol in rural areas.
The Kenyan Ministry of Health has a very informational FAQ page on their website with the latest guidelines and information.
CORONAVIRUS SYMPTOMS


Small pet negotiable with extra deposit.
Desirable Danbury Park Community. Great Pleasanton Location. Built in 1986, This Home Includes 3 Bedrooms, 2.5 Baths, 1731 sq. ft. of living space. Bright Kitchen with Tile Countertops, Stainless Steel Appliances, and Electric Range Stove. Spacious Family/Dining room, Vaulted Ceilings, New Carpet Downstairs, Open Loft Master Bedroom/Bathroom with Lots of Counter Space and Vanity, Skylight and Walk In Closet, Upstairs Balcony Off The Second Bedroom, Attached 2-Car Garage. Entertain In The Private Cozy Backyard. Washer/dryer and Refrigerator included.
Rental Insurance is Required! Front yard is maintained by HOA. Backyard is maintained by tenant. Small pet negotiable with extra deposit.


text:
Q: How to start a grails webtest without starting the grails application? I am working with the webtest plugin as functional test component for grails.
It works fine, but is very slow - the whole application has poor response times (>1min per page) when under test. My feeling is that this is because the app, canoo webtest and the IDE (netbeans) are running in one JVM when I start my test through the IDE (test-app functional:)
So my goal is now to deploy the app to a stand-alone tomcat and run my tests against this tomcat instance.
I googled and found an old option -nostart for webtest which seem to be outdated.
So I googled some more and found the -baseUrl=http://... option in the current documentation. The docs say that with this option, the app will not be started and all tests will run against this baseUrl. But when I give it a try, grails still tries to start up jetty (at least, I get an error message saying that the port 8080 is already in use).
Any ideas? I am already thinking about using webtest stand-alone, but I like the groovy syntax of the plugin...
I'm using grails 1.3.4

A: You could try interactive mode as mentioned here: Can I run grails integration & functional tests against a running server?
If the -baseUrl option isn't working then I'd raise a JIRA issue.
cheers
Lee


Still not working for me...I really don't understand what's different with my setups. I did exactly as said, npm link in the cloned repo and used rootsmini new to make a new test project, then went into that project and did rootsmini watch...still getting the error. Is there anything to be done to the project before running rootsmini watch?
Oh that's reasonable, gotta focus on the needs of the team. I'm usually the odd man out so no surprise there :smile: Definitely looking into, at the very least, running a portable VM of a distro. I've never had the opportunity to fully commit to Linux as there's been so much I've had to do with Windows, but I'm always hearing that it's perfect for webdev. All the more reason to switch!
Just to jump in, yeah Ubuntu is solid and you probably won't ever need for anything else. You can even just install it on a USB stick and boot that up on your Windows machine!


ARMONK, N.Y. — Walgreens worked with IBM and automation specialist Blue Prism to implement digital workforce capabilities for its human resources function.
IBM said Walgreens is now using robotic processing automation (RPA) software from Austin, Texas-based Blue Prism to support its HR function. Meeting Walgreens' security and governance standards, the solution enables employees to devote more attention to customers and patients.
"Robotics is an integral part of Walgreens' HR shared services strategy, to allow our team members and leaders the additional time to focus on and better serve our customers and patients, thereby providing value to our shareholders," according a case study presentation by Curt Burghardt, senior director of HR shared services operations for Walgreens. He shared some insights on the RPA project earlier this month at the Intelligent Automation conference in New Orleans.
HR processes that Walgreens identified for RPA, the case study said, include paid time off accrual calculations and input; leave of absence notifications to managers; leave of absence payroll location changes and benefit eligibility hours updates; bridge-in-service calculations and input; case management creation; severance calculations; reopening of performance evaluations; earnings and W-2 history requests; candidate interview scheduling; and the Americans with Disabilities Act (ADA) accommodation process.
"A virtual team member can access the same systems, perform the same functions as a current HR shared services team member, freeing his/her time to perform functions of greater value," the case study from Burghardt noted.
IBM said its enterprise automation offering with Blue Prism can help organizations better scale and manage workloads so employees can spend more time on strategic tasks, in turn improving customer engagement, innovation and driving transformation within the business.
Blue Prism's Operating System for the Digital Workforce incorporates investments in over a decade of software development and includes insights from more than 450 global enterprise customers in such industries as finance, insurance, utilities, telecom, health care, retail and manufacturing. The company is a pioneer in the RPA field, having invented the term in 2012.


When opening the Photos view the most recent pictures appear. scrolling down brings you to the older pictures. Each time I scroll down the next 9 pictures appear, and Airdroids takes some time to produce the thumbnails. With each time I scroll down the time Airdroid needs to produce the thumb increases exponentionally. Getting to the first of my 500+ photos is simply impossible. Airdroid simply freezes and you are no longer able to see what pictures are loaded.
When I download pictures or videos to my PC often the download does not complete. The download speed is acceptable and soon 99% of the file is downloaded, however the last 1% or so does not get completed and the download simply hangs forever.
I am still on Froyo 2.2.2, I have a HTC Desire and My PC is Win7 Home Premium. The app is on my SD card as I do not have a lot of memory left. I am extremely disappointed not being able to use the app. Potentially it is a good app and I am wondering how to solve this? Is my phone out of date? Is my phone's memory the bottleneck?
I tried with my wife's Galaxy SII (Android 4.0) and performance is definitely better. I was also able to download a video very quicky.


text:
SIM Group Adds Sound Services through Merger with Tattersall Sound and Picture
by Keith Gayhart | Apr 7, 2015 | Other | 0 comments
LOS ANGELES—SIM Group today announces its merger with
Tattersall Sound and Picture, a Toronto-based provider of sound editorial, ADR
and mixing services to film and television productions. The move extends SIM
Group's reach into sound post production and advances its goal of providing
productions with end-to-end services from the camera to the screen.
"Tattersall is a wonderful,
award-winning sound facility with a talented staff and a great roster of film
and television clients," said SIM Group President and CEO Rob Sim. "They are a
perfect complement to the other companies in our group. As a SIM Group company,
they will now have access to resources that will enable them to continue to
grow and reach a wider range of clients."
Tattersall Sound and Picture
provides sound services for such television shows as Vikings (History), Penny
Dreadful (Showtime), Reign (CBS),
Saving Hope (Bell Media), Rock Icons (VH1) and Ride or Wrong (Disney). It has provided
creative sound editing and mixing services on such recent films as Zoom, Hyena Road and Beeba Boys.
(back row, left to right) David McCallum, Rob Sim, Peter Gibson (front row) Jane Tattersall, Lou Solakofski
As part of SIM Group, Tattersall Sound and Picture will
continue to operate independently under its current name, management and staff.
It will also work cooperatively as a key component of SIM's Post
Production Division, alongside Bling Digital (production and
post-production workflow solutions), Chainsaw (editorial and
post-production finishing services) and Pixel Underground (editorial
conforming, color grading and graphics). This will allow the
company to offer comprehensive post-production solutions that, when packaged
with other SIM Group companies, including SIM Digital (camera rentals)
and PS Production Services (grip and lighting rentals), results in an end-to-end
solution for television and motion pictures, unique in the industry.
"Our clients benefit from this alliance through
streamlined service," said Tattersall Sound and Picture founder Jane
Tattersall. "They can come to one team for all their sound and picture needs."
Tattersall added that the
alliance will also help her company tap further into the U.S. market by
aligning with SIM Group facilities in Los Angeles, New York and Atlanta. "It
allows us to compete on par with the biggest players in sound," she observed.
co-founder Lou Solakofski, a re-recording mixer, noted that the two companies
have been exploring the possibilities of an alliance for several months. "We've
teamed up on quotes for several projects and every time there has been contact,
it's been good," he said. "We admire the way SIM works." He added that several
SIM companies were founded, like Tattersall Sound and Picture, by
owner-operators and so they share a common culture that values excellence in
artistry and customer service.
and SIM Group have been friendly colleagues for many years. "We share a common
culture of innovation, excellence and customer service," Tattersall said. "Our
alliance with SIM ensures a stable and long-term future for our business, which
benefits our clients, our employees and the industry we serve."
About The SIM Group
Toronto-based investment firm Granite Partners, the SIM Group is a leading
supplier of production equipment, workflow and post-production solutions, with
offices across the US, Canada and China. Our diverse services can be utilized
on any production at any stage. In Canada, our offices in Toronto, Vancouver
and Halifax service grip and lighting from PS Production Services and can be
complemented with SIM Digital cinematography and playback equipment for any
production's needs. Bling, Chainsaw and
Pixel Underground provide an array of services from dailies, to online and
offline editing, to final color/DI and visual effects. Bling's services, which
include a comprehensive workflow solution, are offered at all offices across
the US and Canada, as well as off-site service through POD (Post on
Demand). Chainsaw's full-service
facility in Hollywood provides creative editorial and extensive finishing
services with some of the top colorists in the industry. Rounding out the
family of companies is Pixel Underground, a Toronto-based post-production
company, and its associated service, StationEX, which provides physical and
file-based media fulfillment and encoding/distribution services. For more
information, visit simgroup.com


text:
Capitol Buildings
Capitol Buildings in Texas
AllCities (488)Skyscrapers (73)Museums (69)Churches (48)Stadiums (46)Theaters (30)Key Buildings (22)Towns & Villages (21)Universities (17)Convention Centers (15)Libraries (13)Haunted Locations (12)Cemeteries (10)Monuments (7)Bridges (7)Historic Houses (7)Historical (6)Roadside Attractions (6)Opera Houses (5)Plazas and Squares (5)Government Buildings (5)Observatories (3)Sculptures (3)Synagogues (3)Court Houses (3)Landmarks (3)Forts (2)Power Stations (2)Ruins (2)Capitol Buildings (2)Art and Cultural Attractions (2)Temples (2)Planetariums (2)Galleries (2)Ghost towns (2)Heritage Sites (1)Research Centers (1)Famous Streets (1)Education and Science (1)Specialty Schools (1)Tunnels (1)Fountains (1)Battlefields (1)Community Centers (1)
Travelers are voting Houston City Hall and Texas State Capitol as the best capitol buildings in Texas. Want more? Check out our map of capitol buildings in Texas or this 1 capitol buildings in Houston.
Houston City Hall
Places To Visit Capitol Buildings
29.76-95.3692
The Houston City Hall building is the headquarters of the City of Houston government. It was constructed in 1938-1939, and is located in Downtown…
1100 Congress Ave, Austin, Texas, United States
The Texas State Capitol, located in Downtown Austin, is the fourth building to house the state government of Texas. The capitol building contains…


National Residence Hall Honorary is a branch off of the largest student organization in the world: RHA. NRHH's core vales are recognition and service. The honorary is represented by the top 1% of leaders living in university owned housing at UCA, which equals thirty-six students!
This student organization requires all students to have a 2.75/4.0 GPA or higher, have lived on campus for at least one academic semester, be a full time student, and has demonstrated outstanding leadership at UCA.
Interested in recognizing someone awesome on campus?! Create an account, fill out an Of The Month (OTM), and possibly win a national award!


text:
How to Play a Forehand Push in Table Tennis
April 18, 2013 by Ben Larcombe
The forehand push is the third basic table tennis stroke to master and it's probably the most difficult of the four. A push is more of a defensive shot than the drive and the aim is to play down the back and underneath the ball to create some backspin.
Later on, the forehand push can be developed into a forehand touch, dig or chop. It is also useful when serving as many basic "chop" serves are built upon the principles learnt for the forehand push.
As with the forehand drive, the forehand push will require a small amount of rotation with the hips, torso and shoulders. It can feel like quite an unnatural shot to play at first but stick with it and you'll develop the feeling you need to execute it consistently.
This post will highlight the correct technique for playing a forehand push in table tennis. I will use my own knowledge as a table tennis coach and a video featuring Alois and Jeff from PingSkills.
What Is The Forehand Push?
The forehand push is one of the four basic table tennis strokes. The other three are the forehand drive, backhand drive and backhand push.
The forehand push is a defensive stroke played with a small amount of backspin.
The forehand push is usually played against short and low, backspin or float balls, although beginners that have not developed a loop (or open up shot) can play a push off a longer ball. At the intermediate stage any long balls should be attacked and any balls that are short but high should be flicked or hit.
The forehand push is primarily played from the forehand side. Only rarely will a player play a forehand push from their backhand side.
PingSkills' Video
Here is a really good video going through some of the key points for the forehand push. Watch it, absorb some of the tips and then have a read of my coaching points below.
My Coaching Points
Here are my key coaching points. I've tried to go into a bit more detail than the video. As always, I break the forehand push down into four sections; the stance, the backswing, the strike and the finish.
The Stance
Feet should be slightly wider than shoulder width apart.
Stance can be square to the table or you can have your right foot slightly further back (as in the forehand drive).
Knees should be slightly bent and the body should be leaning forward. You may want to be slightly lower for a push as usually we play this shot against lower, backspin balls.
Both arms should be out in front of you.
About a 90-110 degree bend at the elbow.
Stand quite close to the table, an arms length away.
Weight distributed on both feet and on the balls/toes, not heels.
The Backswing
Bring your bat backwards and out to the side of your body.
Create a slightly open bat angle.
Keep your wrist straight.
You should have a small gap between your elbow and hip.
Try to keep your playing arm slightly in front of your body, you don't need a big backswing for the push.
The shot is played slightly to the side of the body, not directly in front of you.
The arm moves forwards, to meet the ball.
The movement comes predominantly from the elbow and forearm.
The bat angle stays open throughout the shot.
Take the ball at the peak of the bounce (or slightly earlier) and out in front of you.
Maintain a small gap between the elbow and the body.
To get less spin you can play slightly more down the back of the ball.
To generate slightly more spin you can play more underneath the ball.
The Finish
Follow through forwards, towards the net.
Your bat should finish pointing where you have hit the ball.
Don't let your arm swing across your body to the left.
You will likely have also played downwards slightly, so the bat will be closer to the table now than it was during the backswing or strike phases.
Always get back to the ready position.
Here are some common errors to look out for in your own shot.
Playing in front of your body. The backhand drive and push should be played directly in front of your body. However, do this for your forehand shots and you'll be in trouble. Check to make sure the angle of your elbow is pointing your forearm to the side of your body. It can feel a little unnatural at first. It is similar to a fencing position (if you can imagine that).
Overextending the arm. The forehand push should be played with a relatively bent arm throughout the stroke. Overextending the arm is a common error among beginners that are playing the stroke in front of their body. They lunge their arm directly at the ball and finish with a straight elbow. It is very hard to control the ball like this.
Swiping across yourself. This is another common error caused by playing the forehand push in front of your body. Some players lunge forwards (the direction of movement is correct but the movement is incorrect), as mentioned in point two, others will swipe across their body (the movement is correct but the direction of movement is incorrect).
Not using the natural rotation of the body. As with the forehand drive, the forehand push requires a small amount of rotation from the hips, torso and shoulders. If you think about it this is the natural way to play but often beginners end up looking like robots because they are too stiff. Relax and allow your body to turn with the stroke.
Too much wrist. At an intermediate and advanced level the wrist can be added to the push to generate a little more spin. However, when first learning the shot concentrate on the rotation of the body and the movement of the arm. Worry about the big bits first and the smaller bits (such as the wrist) can be easily added on later. Start with the wrist and it's quite hard/more difficult to add bigger movements (such as the correct forearm movement) later on.
Don't 'poke' or 'prod'. As I said with the backhand push avoid the temptation to play short, sharp strokes. Learn to play a smooth forehand push stroke with lots of feeling and control.
Taking the ball too late. Either taking the ball after the peak of the bounce or trying to take it in line with or behind your body will make the stroke very difficult. Strike the ball at the peak of the bounce or slightly before (when it is still on it's way up) and make sure the contact point is in front of the body.
Don't 'scoop' the ball. Many beginners play a "scoop" push where the try and go down the back of the ball and then continue to move up the front of the ball, with the bat finishing high. It follows a U-shape. This is not correct and will stop you from generating backspin. Concentrate on brushing the ball in just one straight line. Your bat should be finishing quite close the table as it will be travelling down slightly during the stroke.
That should be everything you need to know to play a correct forehand push. As I said before it's probably the most difficult of the four basic strokes but it's well worth mastering early on. Avoid the temptation to move on to serves and topspins before you've learnt the pushes!
There are lot of other great videos on YouTube showing the forehand push in action so definitely have a look at them if you require further help or drop me a line/leave a comment. I'd be happy to help.
If you would like to subscribe to the Expert Table Tennis RSS feed and receive updates of new articles then the link is here.
And of course make sure you head over to my How to Play Table Tennis page for all the other technical training you'll need to develop from a beginner to a pro.


text:
Q: Exercise on diffuse and purely discrete measure
Problem: Let $( \mathbb{X}, \mathcal{X})$ be a Borel space. Let $\lambda$ be a $\sigma$-finite measure on $\mathbb{X}$ and let $A:= \lbrace x \in \mathbb{X} : \lambda ( \lbrace x \rbrace ) =0 \rbrace$. Show that $\lambda_A:= \lambda (A \cap
 \cdot )$ is diffuse and that $\lambda_{A^C}$ is purely discrete

Hint: Show that $A^c= \lbrace x \in \mathbb{X} : \lambda ( \lbrace x \rbrace ) > 0 \rbrace$ is at most countably infinite.

My approach: To show that $\lambda_A$ is diffuse is easy.

Let $x \in \mathbb{X}$ be arbitrary, if $x \notin A$ then  $\lbrace x \rbrace \cap A = \emptyset$ and clearly $\lambda_A( \lbrace x \rbrace )=0$
If $x \in A$ then $\lbrace x \rbrace \cap A = \lbrace x \rbrace$ and since $x \in A$ it follows that $\lambda_A ( \lbrace x \rbrace)=0$, thus $\lambda_A$ is diffuse.
The harder part for me is to show that $\lambda_{A^C}$ is purely discrete, most likely because of a lack of measure theory expertise.
Going for the hint I can say that since $\lambda$ is a $\sigma$-finite measure on $\mathbb{X}$ we have $\mathbb{X} = \bigcup X_i$ with $\lambda ( X_i) < \infty$ and therefore  $$A^c = \lbrace x \in \bigcup X_i : \lambda (\lbrace x \rbrace) > 0 \rbrace = \bigcup \lbrace x \in X_i : \lambda ( \lbrace x \rbrace ) > 0 \rbrace = \bigcup_{i \in \mathbb{N}} \xi_i $$
Since $\xi_i \subset X_i$ we have that $\lambda ( \xi_i) < \infty$, i.e. $$ \lambda ( \xi_i) = \int 1_{\xi_i} (x) \lambda (dx) < \infty $$
But I don't see how I could possibly continue from here. I haven't used the fact yet that $\mathbb{X}$ is a Borel Set, howoever I do not see how that would be useful here.


text:
Should Syndergaard and deGrom be wearing pinstripes in 2018?
June 14, 2018 Tom Scholes MLB, New York Mets, New York Yankees 0
Every sport has a team that, no matter their situation, will always be linked with the biggest names in the sport. In the NBA you have the Los Angeles Laker s and the New York Knicks, in football you have Real Madrid, Manchester United and Manchester City and in baseball, you have the New York Yankees. Even if these teams don't need a player in a certain position, chances are they'll be linked with them anyway. In these past few weeks there has been a lot of noise around the possibility that the New York Yankees could be trading a few of their young stars to their inner-city rivals, the New York Mets, for the two ace pitchers in Flushing Meadows, Jacob deGrom and Noah Syndergaard.
The Mets know that it'll take a huge deal from anyone to lure one of Syndergaard or deGrom away from Queens, and many articles will suggest that both teams are interested – as Albert Chen of Sports Illustrated did – but there are a lot of factors that have to be in play to make this trade work. The Mets need to ask for top prospects, whether that be Major League proven stars like Miguel Andujar or Clint Frazier (Gleyber Torres is strictly off the table) and maybe some farm pitchers like Chance Adams or Justus Sheffield. Maybe even someone like Aaron Hicks just to sweeten the pot.
Sounds simple, right? Well, not exactly. The Mets know that the Yankees need good pitchers following the injuries to Masahiro Tanaka and Jordan Montgomery plus the age factor of CC Sabathia and the shaky form of Sonny Gray, so they'll be demanding the best deal they can possibly get. But who can match the potential Yankee deal? The Dodgers have good youth but aren't entirely keen on trading them away, the Braves have a plethora of talent but the Mets won't want to deal with an NL East rival, so that leaves the Yankees. But should the two try and smash out a deal?
Would it make sense for the Yankees to upgrade their rotation with two Cy Young level candidates? Obviously, it would essentially assure them of a postseason spot, but how would it affect their chances of taking on long-term free agent targets Manny Machado and Bryce Harper? At the time of writing the Yankees have around $15M to spend on their payroll to keep them under the $197M luxury tax threshold they promised not to go over. According to spotrac.com deGrom earns $7.4M a year at the Mets but is eligible for arbitration in 2019, although that may not bother the Yanks. As for Syndergaard, he's earning just under $3M and is also in arbitration next season. Together the duo would only leave the Yankees with a $10M dent in their funds and would leave them with enough room to chase after a Machado or a Harper (or even both).
But the money isn't the issue, the players that are being traded away might be. Miguel Andujar has an OBP of .340 and leads MLB in extra base hits for a rookie. He could potentially be the Yankees third baseman for the foreseeable future and Clint Frazier could be the ideal replacement for Aaron Hicks in centre field, meaning the two positions of the two biggest free agents would be taken by younger, cheaper stars. Will Brian Cashman go all in for Bryce Harper? Not for the reported $500M, I don't think he will. What about Machado? That seems more likely, meaning one of Brandon Drury or Andujar will be made redundant, so maybe it could work?
Would the Yankees be willing to trade away one of their biggest young stars in a trade package for two all-star caliber pitchers in the hopes that they get the best third baseman in baseball in free agency? If Frazier/Hicks and Andujar were to leave along with Brett Gardner's contract being declined, that leaves at least two outfield spots and a spot at third base needing to be filled. Brandon Drury can do the job at third base, Judge and Stanton will need another outfielder alongside them, and with potential no Hicks or Frazier, it could be tricky.
Any deal starts with Andujar, and both the Yankees and Mets know it. It's just a case of whether the Yankees can soften the blow when it comes to dealing young stars or whether the Mets can get about four or five top prospects out of a potential deal. Should the Yankees try and get a deal done? Absolutely, because it could be worth the risk both now and when free agency hits. Should the Mets entertain offers? Well, if they're not interested in signing deGrom and Syndergaard down to long term deals, they'll have to start looking for offers. As mentioned earlier, not many teams have the type of talent the Yankees do when it comes to trade power, so maybe the two New York teams need to get together and hash out a deal, even if it's the last thing Mets fans want.
The chance to rebuild your team with top level prospects and maybe a few veterans thrown in the mix? Sounds promising for the Mets, but it'll hurt in the short term. As for the Yankees, they'd be stupid not to try and get something out of this. Even if it doesn't come off, they should try and see what the Mets want. As long as it doesn't hurt their free agency chances in the off season, anything is possible.
About Tom Scholes	12 Articles
Tom is a sports writer covering NBA, MLB and MLS for Franchise Sports, as well as writing his new book "Stateside Soccer: The Definitive History of soccer in the United States". Tom has been writing for 5 years and has experience in podcasting and video production to back up his writing chops.
J.A. Happ is exactly what the New York Yankees need
July 26, 2018 Tom Scholes MLB, New York Yankees, Toronto Blue Jays 0
The Yankees finally got their man on Thursday. Will he be a difference maker? […]
Mets would be foolish to trade Syndergaard if they are not rebuilding
November 17, 2018 Sam Cox MLB, MLB Offseason, New York Mets, San Diego Padres 0
Padres set to accelerate rebuild with deal for ace. […]
Why the New York Yankees should trade for Madison Bumgarner
May 2, 2018 Tom Scholes MLB, New York Yankees, San Francisco Giants 0
July 31st is always a date that fans of Baseball will have sketched into their diaries. July 31st is the date of the trade deadline and with a few major free agents about to hit […]


text:
Posts Tagged 'young artists'
Japanese artist Hiroshige Fukuhara reappears after 8 year absence – Art Radar interview
JAPANESE ARTIST INTERVIEW PAINTING DRAWING EMERGING ARTISTS
Eight years ago, Japanese artist Hiroshige Fukuhara was building up a successful career as a promising contemporary artist. He showed work at P.S.1 Contemporary Art Center in 2001 then disappeared from the contemporary art world. Then, in 2009, he reappeared at Tokyo's ULTRA002 art fair, and in March this year exhibited work at NYC PULSE. Last month, Art Radar Asia spoke with Fukuhara in a special interview in which he talked about artwork from his recent solo exhibition "Binary" and explained what he has been doing in the eight years that he withdrew from the art world.
Fukuhara is represented by Ai Kowada Gallery in Ebisu, Japan, where he had a solo exhibition, "Binary", earlier this year. His artwork from this exhibition features a series of drawings on which he sketches images of flora and fauna onto a black background with pencil, making the image difficult to see in certain lighting or at certain angles. We interviewed Fukuhara at this gallery, surrounded by his most recent work. Here he explained the reasons he chose this new medium and talked about his inspiration for the title of the exhibition. We discussed his background, what drives him and his art and the challenges that face young artists working today.
Artist Hiroshige Fukuhara next to his piece, 'The Night' at his latest solo exhibition at Ai Kowada Gallery in Japan. Image property of Art Radar Asia.
When did you first feel that you were an artist?
Something like, when I felt different from other people? (laughs)
You mean you wanted to do something different?
Yes, when I thought that, and also when there are judgment calls between something that's supposed to be "good", and "bad", and I felt that, even though I know what's socially right, morally right, I want to take those social and moral judgments separately. For example, with morals, morally, something could be bad, but it can still be good. I sometimes made that kind of judgment, but people around me, if it was morally bad they would always consider it bad. So there's a difference there.
After exhibiting at P.S.1 in 2001, you quit all activity as an artist to pursue other work until ULTRA002 in 2009. What influenced your decision to quit activity as an artist?
When I was in university, what I made was the same as now, fine art. Then, when I was there, Phillip Morris [International] did things like Art Hour. I was remaining as a candidate until the finals – well there were twenty, thirty of us – but I was one of the finalists. Then, that became a trigger that led to some small exhibitions.… That time it was already the final. There were people from other countries in the finalists, so there were a quite lot of people, but the Finalist Award pretty much triggered other things, several other things, but after that, I sort of got tired of it…. And then, what I mean by 'tired of it' is that I sort of grew tired of what I was making at the time as well, and then from there, I went more towards media art.
Things like graphic design?
No, more interactive than that. There's some programming, then projection, like that…. Then, when I was making interactive art work, places like Sendai, Mediatheque from Sendai, and New York, and there was talk of Kyuushu at one point, although that didn't end up happening, there was talk of going to these places … and when I participated in that, then I really ended up tired of what I was doing. What I mean is, I like media art, but I don't think I can do it.
So what did you do after you grew bored of new media art? Why hadn't you been creating art until recently?
In 2001, I did one exhibition, but then I started to question whether there was a point in doing art without the thought, without the creativity. And then I really began to think, was there a point in doing art? Is there a point in making, say, a sculpture? Who would it be for? And what manner of creating art would satisfy me? Keeping these things in mind I made some simple test pieces…. Samples. For example, making something without a shape. Not exactly design… just the idea. Just the philosophy behind it. And so the period of time that I spend just focusing on the philosophy part, the philosophy regarding art, the creative part is open. And so I subdivided my brain a little, separated creative as creative, and that part I used when I was doing design, which I don't consider fine art. In my head, therefore I had space to consider what I should do with the "art" side of things. I kept thinking. I mean really, I tell everybody this but, I spent at least six years thinking about this.
What have you learnt during your absence from the art world?
I realised there's no need to make things that are already visible. For example, let's say you go somewhere, travel somewhere, maybe. You see a very beautiful landscape. I think you can leave that for a photograph. So I decided not to recreate things that exist in the first place … I think that it's best to draw something that uses imagination and inspiration as a way to consolidate your own philosophy.
Tell me about how you came to participate in ULTRA002 (2009) and NYC PULSE (2010).
That's because I'm part of this gallery of artists. The artists associated with this gallery … can speak with the directors and discuss the possibility of entering the next ULTRA art fair, and it's not certain you'll pass, but you know, you apply for it.
Why did you want to become an artist?
I think that art is like a subject. It's academic … the basis of art is quite academic. But the viewer has freedom. That's why, when I make my work, it's more philosophical. I like to have philosophical ideas and make pieces…. The point is that the people who critique art often have very academic backgrounds, but I think even children and people who don't know anything about art should be able to see the art, and freely feel what it means to them. I feel that is the most pure, somehow. And so, for fine art, there aren't any restrictions. For example, the big difference between 'design' and 'art' is whether or not it's been requested. The thing with design is that, after all, it's somebody else's intention, or somebody's … desire…. There's a purpose, very clearly. And so, for fine art, the purpose is in the self, so it remains extremely pure…. For example, nobody is going to be sad as a result, or maybe they won't be happy either, and maybe they will be sad, but, even so, it might make them happy. Thus it's really quite a … place where one can face new challenges.
So would you consider yourself a fine artist? What do you consider your main line of work?
Myself? I would like to keep being an artist.
What major influences have you had in your life?
I suppose books…. I don't really read novels much. Other than novels, documentaries, philosophical books, chemistry books, things like that. Especially books that might change one's perspective, thoughts. Or else something that changes one's thoughts, one's mind. How should I explain this? To 'dephase'…. And so, I'm always trying to find opportunities for change, so yes, perspective. What kind of perspective to have each time.
What was it that changed you as an artist?
Maybe books. I suppose books. For example, even people you can never meet, people who you really respect, even if you've never met them, that person's words are written down. The words affect us, and make us consider things like, maybe there's no value in that, or that's not quite right. In the end it's yourself thinking, but the trigger for that, what gives it initiative, are the words of those people you respect.
What has challenged you as an artist? Why? What kinds of things have been challenges for you as an artist?
Everyday is a challenge (laughs). There's a kind of fulfillment when you finish a piece, but at the end, that's it; and so little by little, I try to find something I don't like about it. Even if I'm pleased with it, I look for something I find displeasing, and next time, try to make it better. Whether it's the technique, or the philosophy behind it, or the surface, that [makes it] good. And so I don't know what it is, but I try to improve it, even if it's just a little bit.
What do you like about art?
After all, we don't have to have art, but it's better to have it. We can have art, or not, but it's definitely better to have it; the strangeness in that! The fact that we don't know if there is or isn't value; it's unclear. I think it's obvious that it's better to have it, so that's what's fun.
What makes your work different from other artists' in your generation?
I think they're all very accomplished (laughs)…. The difference is that they are Fukuhara, or they aren't. What I do, only I can do; when I'm doing art, I think like that…. For example, I consider the boundary between something existing and not existing. I like that boundary … I pay a lot of close attention to that, so, for example, the medium can be pencil, or oil paints, or metal, it can be anything. And so, if something does exist, or it doesn't … I pay attention to that, I want to express that. And so I consider how to convey that, I look for that. And even if there's someone who's thinking the same thing, that person and I will probably come up with different ideas. And since we have different knowledge, that's only possible for me to do, there's only me.… My priority is not for the expression. I'm more inclined towards the philosophy involved.
What are your plans for the future? Do you have any future projects?
A big art fair. It hasn't been decided yet but either in Miami, PULSE in Miami, or next year in New York … or a show. There are also some shows that want to exhibit my work, they're pretty far ahead, but there are some exhibitions.
What challenges do you see for young artists working in contemporary art today?
In Japan? The circumstances are bad. Business is bad. Right now, it's so. And, yes, the Japanese economy is very … the Japanese arts, arts scene? The arts scene I suppose, or more like, the custom here, is very bad. It depends on the culture. In Europe, and probably at PULSE as well, probably everyone is quite understanding, so they say, 'Mr. Fukuhara, I can support you.' As in, before they ask 'How much?' or things like that, they tell me, 'I can support you.' I've never heard of it in Japan. There were some people like that up till now, and so, yes, there are some, but they're few. Overseas, in the USA, what I learned when I went to PULSE was that in fact, both very rich people, and people not quite so rich are willing to buy a piece of art if they like it. Because if they support a young artist, and since they like the piece itself, maybe they'll become really well-known later on. There's sort of a feeling like that. And also, they know that if they buy this piece, the artist can go on to make their next piece; they'll approach artists in a sensibility like this, even if they don't say it to this extent. Japan likes modern art. In Japan, there's a kind of feeling that there's a tendency towards it. I think that's because the value is already determined, like: 'This is good'; 'That there, that is worth about this much.' But, there isn't much of a sense of supporting young artists … Japan has lots of really amazing young artists, but I think it's very difficult in Japan.
Hiroshige Fukuhara, 'The Night With a Clouded-over Moon (Carp)", 2010, pencil on aluminum panel, 50 x 35 cm. Image courtesy of the artist.
Tell me about your current exhibition, "Binary".
The color is black, but, color depends on the light. The color is determined by the light. This here, what the color white means, is that it's reflecting white light back at us. And here the light is getting absorbed and so it's black in color. This looks silver, but all it is is that the carbon in the pencil lead is shiny. If you put black on black, well, you can't see it very well, but it shines, and sometimes you can see it well, sometimes you can't. And if you see it at night, it's almost completely dark. If you see it in a room at night the surface is completely black.
What was the philosophy behind "Binary"?
As I said earlier, I'm trying to reach the borderline between what exists and what doesn't. That's why, for example, from here it's impossible to see this painting because of the glare, yes? Because of the acrylic board, because it's darkened. But if you put your eye close to it, you can see that there's quite a bit drawn on it. 'Then don't draw on it!' someone might say. But I want to draw on it. …When you interpret a computer, the data formats are, for example… there's a thing called text, and text goes on forever. But with binary code, it tells you in the first row how many letters there are. And you can't have any more than that. In that lies a big difference between so-called binary code and text. With binary you know the end from the very start, and in text it goes on forever so the end is unknown. Text has no limit but binary defines the end in its first row of numbers.
How did you use this idea of "binary" in your artworks?
In how I incorporated a limit into my work process. To start with, drawing lines in a way that makes them invisible is in itself limiting. And also, binary is in two states, so it's '0' and '1'… there's no middle point, I didn't draw any middle tones. They're all drawn as solid lines, and it's not in grey scale, but it's black on white. What is it? Gradation? Gradation is hard to reproduce. If someone says, 'Here is some gradation, go copy that exactly onto here,' it's really difficult to do that…. If's it's only two colors, if there's a line in exactly the same place, it can be reproduced. …It's just the placement. And so, this is somehow maybe worthless in value in terms of creativity. The act of purposely making something that can be re-created easily, that's somehow important, the value. The easiness to re-create and the difficulty to re-create. Maybe it should be the priority to make things that are harder to re-create, but I deliberately want to express what's easy to re-create.
What do you like most about this exhibition, "Binary"? What do you like most about this series?
The fact that it's black (laughs)… It can be black or it can be white, but to have none… The good part is that it's clear if it is or isn't there … if you go in what you notice in the moment you enter is that there are black squares. And then in that, there's a, what do you call it, in minimalism they made black panels, or red panels, but I can't get that stoic, and I do want to express…. I want to express something animated, something pulsated, but part of me also doesn't want to express it…
And so you make it harder to see.
Yes that's it. And also in a picture, you try to fill it up; this goes here…. And so in order to not do a layout, I start drawing from an area.
Is that easier to do if it's black?
No, that doesn't affect it. In order to make the layout quieter… this isn't fixated. And so if you take the acrylic board off and touch it, it'll come off.
Why did you decide to use black gesso?
That's because black holds a lot of different meanings. For example, it's very still, it has a sense of immense quiet, and also a strong sense of night and also darkness… And it's possible to see a highly dense something in black. White things are the opposite and they're pure, there's cleanliness. Black for me is a mysterious color. In order to fully expose the good qualities of the color black, I wanted to make it black on black. In the end it looks more like black on silver than black on black, but the act was to put black on black.
Is there a reason you decided to use pencil?
I think it's the freshness?… For example that piece there, I've fixated. It's more like a CD. If you compare it to music, it's more like a CD. And this is more like a live show. It's possible to do black on black by using a brush, for example, to place a transparent medium on the black, that would make it black on black as well. But if you do that, I think that makes it more like laying it out. I think that once you start deciding the composition, the picture will get more like, well industrial arts, or arts and crafts.
And it will get harder to see.
Right. Also I don't intend to do arts and crafts, so, for lines that I can only draw in this instant, I want to draw them in that instant as much as possible, and with pencil it's fast.
Do you draw directly onto the gesso or the aluminium?
Yes. As a piece…. I'm repeating myself a bit, but the relationship between the pencil and the gesso is that, it's ultimately about being able to adjust the image, and I suppose how to deal with the lighting, because I'm not using colour. And so, it's all about how much you control the light, and so I don't question the medium. And this acrylic case protects it, but the piece is actually the whole thing, case and all, so it's okay. It's fine if the surroundings are reflected on the acrylic board. It's all included in it.
Gallery view of Hiroshige Fukuhara's latest solo exhibition at Ai Kowada Gallery in Japan. Image courtesy of the artist.
Hiroshige Fukuhara, 'The Night', 2010, pencil, black gesso on wooden panel, 900 x 630 mm. Image courtesy of the artist.
This artwork shaped like a horse is a little different? Could you tell me more about this one?
It is different. I'm starting to do these recently, but as I said earlier about layouts, pictures tend to mostly be rectangular shaped. I want to be able to connect the philosophy and the technique as directly as possible onto the square, the surface. However, somehow various… um, it has to go through, a certain way, and so it's inevitable that the expression becomes more …angled than what was being imagined. For example, just drawing instinctively… without making a draft and drawing in real-time, directly, means that the lines aren't pre-determined. After drawing a strawberry-like image… a flower appeared, and then below that are some moss-like things … and in each of those instants, there's something that's alive, and I try to draw them, picking up these random images from the library in my head and placing them onto the canvas. And so, when it's square, I can't help placing an object on it. For example, the butterfly, I put the butterfly down. …This shape here, because the shape is intentional, internally it is tremendously free. I'm thinking I'd rather continue to do this sort of thing. And then when you do that, the place where it's displayed? There might be more freedom in where you hang it and, if it's square, for instance, often, pictures are something I want to be displayed in houses,… or museums and such as well. And so, with things like that, you feel an urge to place it bang in the middle. For example… there's a horse drawn on that one. It's just that a horse is there, but I drew the horse by accident. But, instead, if the canvas is a horse, then isn't there no need to draw a horse? I can draw the pattern more freely from within, because if the tableau is square, I'm compelled to draw a horse. It's a way that I strategise, but if the canvas is already shaped like a horse, there's no more room to place one, and it makes it easier to make a direct connection between my head and my hand…. It's impossible to remember what I drew (laughs).
You mean, the order that they're hung is decided?
Yes, like maybe you want some more space between them. But if they're shaped like this, and for instance, if there's a small picture then maybe it might be good to put them in a spot like this. Yes, you might be freer to put them where you want, and maybe the meaning of the piece might change depending on where you place it. Also, outside? Having an association with a silhouette, also, makes the interior extremely … there's a feeling of my own sense of alive-ness, and so for me I'd really like to continue to do this sort of thing.
MM/KN
Related Topics: Japanese artists, venues – Japan, gallery shows, interviews
Kwan Sheung Chi reveals how to survive as an artist in Hong Kong in telling video – July 2010 – artist interview reveals interesting insight into artists' work and philosophy
Leading non-profit institutions gathered by Tate Modern for art event: Art Radar Asia lists Asian participants – July 2010 – Japanese artists participate in art fair outside Asia
Murakami opens new gallery in Taipei, says Taiwan's art market 10 years ahead of Japan – July 2010 – influential Japanese artist compares Japanese art market to Taiwan's more global art market
Japanese sculptor Kohei Nawa speaks on new internet art TV platform Studio Banana – May 2010 – report on Japanese artist interview
Four Asian artists nominated for NYC PULSE awards – March 2010 – Art Radar reports on nominee Hiroshige Fukuhara
Subscribe to Art Radar Asia for more on Japanese artists
Posted in Conceptual, Drawing, Emerging artists, From Art Radar, Gallery shows, Hiroshige Fukuhara, Interviews, Japan, Japanese, Painting | Tagged: "Binary", Ai Kowada Gallery, aluminium, Art Hour, artist interview, black gesso, contemporary artists, contemporary Japanese Art, contemporary Japanese artists, Ebisu Japan, exhibition, Fukuhara Hiroshige, galleries, gallery exhibition, gallery show, Hiroshige Fukuhara, Interactive art, interview, Japan, Japanese, Japanese art, Japanese art culture, Japanese art galleries, Japanese art scene, Japanese artist, Maya McOmie, Media Art, minimalism, New Media Art, NYC PULSE, P.S.1 Contemporary Art Center, pencil, Phillip Morris International, Sendai Mediatheque, Solo Exhibition, ULTRA002, young artists | 2 Comments »
Is text writing or image? Bloomberg prize-winner Phoebe Hui examines – video interview
Posted by artradar on June 29, 2010
HONG KONG ARTISTS VIDEO ARTIST INTERVIEW
In a short five minute interview on ChooChooTV's weekly show [art]attack, emerging Hong Kong artist Phoebe Hui gives viewers a peek at her creative process.
In the interview, Hui expresses a strong interest in the transformation of text from one medium to another. To her, such transformations serve as a way of linking text to other concepts.
Artist Phoebe Hui at work in her studio.
"The way I view text is not just a form of communication but also as an image."
By removing the meaning of written words, Hui transforms them into more than just a method of verbal expression. In an early piece titled Doublets Doublets Doublets, Hui bases her process on a game by author Lewis Carroll.
"I will remove one alphabet letter in a word…and gradually change other letters too. These are still text that we are familiar with but once we change it our focus is no longer on the meaning of the text but simply on the relation of the symbols."
After graduating from the School of Creative Media at the City University of Hong Kong, the artist travelled to England where she studied for a masters degree at the University of the Arts London. Following graduation she decided to move back to Hong Kong.
Although Hui has achieved considerable success as a young artist, it has not come without disappointments. On her move to London from Hong Kong Hui states:
"For me, my path from attaining the scholarship from HKADC [Hong Kong Arts and Development Council], I thought I would have a very successful year in London, but it was not as good as I thought it would be."
In spite of this setback, Hui went on to win the Bloomberg Emerging Artist award in 2008 after her return to Hong Kong, an accomplishment she is "very satifisfied with."
While she expresses concern about support for artists' programs from both organisations and Hong Kong audiences, she remains positive and driven.
"It seems like a very successful road, but I'm still not where I want to be."
Watch the video here (length of video, 5:22 mins).
EH/KN
Related Topics: Hong Kong artists, emerging artists, installation art, conceptual art
Curator Valerie Doran on 'Hope and Glory' and challenges for Hong Kong Art world – May 2010
3 Young Chinese Artists Awarded Prizes at Inaugural Coachangdi PhotoSpring – May 2010
gallery EXIT a new Hong Kong gallery to watch – May 2010
Sound Art, Trickery and Time-Interview Hong Kong New Media artist Chilai Howard Cheng – November 2009
Young Chinese Artists The Next Generation- Book Review – June 2009
Subscribe to Art Radar Asia for more on emerging artists from Hong Kong
Posted in Conceptual, Emerging artists, Hong Kong, Installation, Kinetic, Phoebe Hui, Sound, Words | Tagged: artist interview, artist video interview, Bloomberg Emerging Artist, ChooChooTV, City University of Hong Kong, conceptual art, contemporary, contemporary Asian art, contemporary Chinese art, digital art, Doublets Doublets Doublets, Emerging artists, Erica Holloway, hong kong, Hong Kong Artists, Hong Kong Arts and Development Council, installation, Jinger, Lewis Carroll, Phoebe Hui, School of Creative Media, Sound art, University of the Arts London, words in art, young artists, [art]attack | Leave a Comment »
The ones to watch: four young Taiwanese artists in Taipei Arts Awards
Taipei Arts Awards celebrates works of talented up-and-comers
Four winners have been selected from 380 submitted works in the Taipei Arts Awards 2009. Ni Xiang, Chang Li-ren, Chang Huei-ming and Tao Mei-yu won with large-scale mixed-media installation pieces.
The judging panel was comprised of renowned Taiwanese art professionals Wang Jun-Jieh, Wu Ma-li, Manray Hsu, Kao Chung-li, Rita Chang, Lu Hsien-ming and Wu Chao-ying.
The four winners
Ni Xiang's Compensation Soon uses handmade cardboard to form the shape of the body of a car and this has been placed over an old style red motorcycle. Both the paper car and the graffiti on the walls show the effort to restore missing parts by drawing in a way often seen on TV screens.
Compensation Soon, Ni Xiang
image courtesy of TFAM
Chang Li-ren's Model Community is a hand made white-walled apartment community. When the crosshairs of the sniper's scope fall on residents and the sound of a gun being fired is heard, bullet holes appear in the white walls and the people inside the apartment are destroyed, a scene that is projected onto five screens and can be viewed live from different angles.
Model Community, Chang Li-ren
Chang Huei-ming's Watching Dust In the Sunlight 14:05 portrays afternoon sunlight shining onto a corner of life in which an everyday spilled cup vibrates quickly, the ripples making the inverted reflection of the multicolored curtains in the center of the spilled water hazy.
Watching Dust In the Sunlight, Chang Huei-ming
In Tao Mei-yu's Language, ten LCD screens have been hung in a cylindrical space and people from different countries mimic the call of the same animal, using a picture of a single animal to contrast the linguistic modes of different countries. The artist has attempted to use anthropological observational and measuring methods to investigate the differences in the process of communication in different language systems.
Language, Tao Mei-yu
The Taipei Art Awards
Established in 2001 and organised by the Taipei Fine Arts Museum, the Taipei Arts Awards aim to reward works that have unique artistic style and reflect contemporary culture, providing a stage on which new artists can show their talent. Uniquely, the competition does not divide works by medium nor does it limit size.
"The winning works in previous years have been displayed to widespread acclaim, showing that the holding of this competition injects a burst of vitality into contemporary art in Taiwan," said Hsiao-yun Hsieh, Director of the Taipei Fine Arts Museum.
First of its kind in Asia – Taiwan's Digital Art Centre officially opens – July 2009
Taiwanese photographers, video artists and an architect at 53rd Venice Biennale – May 2009
Sovereign Asian Art Prize 2008 – emerging artists on show in Hong Kong – October 2008
Art Fair Shanghai breaks new ground with Best of Discovery emerging artists – Financial Times, Artkrush – September 2008
Posted in Emerging artists, Events, Installation, Museums, Prizes, Professionals, Taiwan, Taiwanese | Tagged: art awards, Chang Huei-ming, Chang Li-ren, Emerging artists, Hsiao-yun Hsieh, installation art, Kao Chung-li, Kate Nicholson, Lu Hsien-ming, Manray Hsu, mixed-media art, Ni Xiang, Rita Chang, Taipei, Taipei Arts Awards 2009, Taipei Fine Arts Museum, taiwan, Taiwanese artists, Tao Mei-yu, Wang Jun-Jieh, Wu Chao-ying, Wu Ma-li, young artists | Leave a Comment »