As foundation repair companies grow they are always on the lookout for new or used foundation repair equipment for sale. Additionally, while upgrading to newer more effective tools, they generally offer older tools for sale to recoup a portion of their costs. The effect of this exchange of equipment is that everyone in the foundation repair business has the opportunity to make good deals for their company. However, it is important to make wise decisions before finalizing the purchase.
Although there is nothing wrong with buying used foundation repair equipment for sale when you find it, attention to detail is critical. The truth is that equipment of any kind can become obsolete. What may have been sufficient a couple of decades ago may not be adequate according to today's safety regulations. Acceptable returns on the investment may not be achievable when this is the case.
When determining whether used or new equipment is right for you, remember that warranties are not typical available on used. While customer support and service center options are normally available for new foundation repair equipment for sale, it may not be on used. The choice is yours so weigh all your options before buying.


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La paroisse de Rivière-Verte est à la fois une paroisse civile et un district de services locaux (DSL) canadien du comté de Madawaska, au nord-ouest du Nouveau-Brunswick.

Toponyme
La paroisse est nommée ainsi d'après sa position sur la rivière Verte, elle-même possiblement nommée d'après le contraste avec la couleur de l'eau du fleuve Saint-Jean.

Géographie

Rivière-Verte est situé sur la rive gauche (est) du fleuve Saint-Jean.

La paroisse comprend les hameaux de Davis Mills, Montagne-des-Roy et Montagne-des-Therrien. Montagne-de-la-Croix est séparé avec la paroisse de Sainte-Anne.

La paroisse de Rivière-Verte est généralement considérée comme faisant partie de l'Acadie, quoique l'appartenance des Brayons à l'Acadie fasse l'objet d'un débat.

Histoire

Martin Settlement, constituant désormais la partie nord de Montagne-de-la-Croix, est fondé en 1896 sous la Free Grants Act (Loi sur les concessions gratuites). La municipalité du comté de Madawaska est dissoute en 1966. La paroisse de Rivière-Verte devient un district de services locaux en 1967.

Démographie

Économie

Entreprise Madawaska, membre du Réseau Entreprise, a la responsabilité du développement économique.

Administration

Comité consultatif
En tant que district de services locaux, la paroisse de Rivière-Verte est en théorie administré directement par le ministère des Gouvernements locaux du Nouveau-Brunswick, secondé par un comité consultatif élu composé de cinq membres dont un président. Il n'y a actuellement aucun comité consultatif.

Budget et fiscalité

Commission de services régionaux
La paroisse de Rivière-Verte fait partie de la Région 1, une commission de services régionaux (CSR) devant commencer officiellement ses activités le . Contrairement aux municipalités, les DSL sont représentés au conseil par un nombre de représentants proportionnels à leur population et leur assiette fiscale. Ces représentants sont élus par les présidents des DSL mais sont nommés par le gouvernement s'il n'y a pas assez de présidents en fonction. Les services obligatoirement offerts par les CSR sont l'aménagement régional, l'aménagement local dans le cas des DSL, la gestion des déchets solides, la planification des mesures d'urgence ainsi que la collaboration en matière de services de police, la planification et le partage des coûts des infrastructures régionales de sport, de loisirs et de culture; d'autres services pourraient s'ajouter à cette liste.

Représentation et tendances politiques
 : La paroisse de Rivière-Verte fait partie de la circonscription provinciale de Restigouche-La-Vallée, qui est représentée à l'Assemblée législative du Nouveau-Brunswick par Martine Coulombe, du Parti progressiste-conservateur. Elle fut élue en 2010.

 : La paroisse de Rivière-Verte fait partie de la circonscription fédérale de Madawaska—Restigouche, qui est représentée à la Chambre des communes du Canada par Jean-Claude D'Amours, du Parti libéral. Il fut élu lors de la  générale, en 2004, puis réélu en 2006 et en 2008.

Vivre dans la paroisse de Rivière-Verte
Le bureau de poste et le détachement de la Gendarmerie royale du Canada le plus proche est à Rivière-Verte. Le poste d'Ambulance Nouveau-Brunswick le plus proche est plutôt à Sainte-Anne-de-Madawaska. L'hôpital régional d'Edmundston dessert la région.

Les francophones bénéficient du quotidien L'Acadie nouvelle, publié à Caraquet, ainsi qu'à l'hebdomadaire L'Étoile, de Dieppe. Ils ont aussi accès aux hebdomadaires Le Madawaska et La République, d'Edmundston. Les anglophones bénéficient des quotidiens Telegraph-Journal, publié à Saint-Jean, et The Daily Gleaner, publié à Fredericton.

Municipalités limitrophes

Notes et références

Notes

Références

Voir aussi

 Rivière Gounamitz, un cours d'eau
 Branche Nord de la rivière Gounamitz, un cours d'eau
 Branche Ouest de la rivière Gounamitz, un cours d'eau

Bibliographie

District de services locaux au Nouveau-Brunswick
Comté de Madawaska
Paroisse civile au Nouveau-Brunswick
Municipalité de l'Acadie

redpajama_set_name: RedPajamaWikipedia


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A Primer on Kathina
The Buddhist Channel, Nov 14, 2005
"Kathina" in Pali refers to the wooden frame which monks in ancient India used to sew their clothes on. The clothes thus prepared came to be known as Kathina clothes. On the Kathina frame the cloth could be stretched for cutting or sewing. Such a device was an aid to unskilled monks who made their robes from cast-off scraps of cloth which they cut with a knife.
The robes of today are made of new cloth but still consist of fourteen "patches" sewn together. The Buddha allows Kathina robes to be presented to the monks who have completed the three-month period of rains retreat.
The event in which the robes are offered to the monks is, therefore, known as the Kathina Ceremony or more commonly, the Robe-Presentation Ceremony.
Download Article (PDF):
"Kathina - Then and Now" by Ven. Aggacitta
Kathina is a main festival that is celebrated during October or November by Theravada Buddhists (i.e. the southern schools, mainly Sri Lanka, Thailand, Myanmar, Cambodia and Laos).
A worthy monk is chosen to receive a new robe, and then other monks are assigned to make it. During this time, it is said that acts of generosity will bring great merit to those who perform them.
Five monks who have spent Vassa correctly must be present at the festival. Vassa is the period of September and October when heavy rain stops the monks from wandering from place to place and causes them to settle down in a temple to apply themselves more strictly than usual to their religious way of life.

redpajama_set_name: RedPajamaCommonCrawl


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University of Melbourne a
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With the planet's greatest football minds in situ, the Premier League has become the centre of the coaching world
Miguel Delaney
English game possesses the elite of coaching talent, which is leading to brain drain elsewhere
Champions League winning coach Thomas Tuchel
When Ralf Rangnick had his interview with Manchester United, he wowed their selection team with his idea for the squad. It was such a distinctive vision that it persuaded John Murtough and his staff that it would be a mistake to go without the German.
They'd be leaving a lot off the pitch. Rangnick has been close to jobs in England before. This time, he wanted to make sure he got it - no complications or issues. He didn't want to go his whole career without working in the Premier League.
It is a widely shared sentiment. One current Premier League manager had a real itch in his last job and realised he needed to get to England as quickly as possible, out of concern that his reputation might suffer if he didn't. Antonio Conte, meanwhile, conveyed similar sentiments in a recent interview in Italy.
"Only the allure of the Premier League could convince me to get back in the game so soon," the Italian said.
It is the league where all the best managers now want to work and where most of them currently reside. That first became true in the summer of 2016, but it has reached another level since then.
Liverpool manager Jurgen Klopp has transformed the club into a formidable outfit.
Part of the reason Liverpool, Manchester City and Chelsea are so far in front is that they employ the three coaches who are arguably the best in the world right now: Jurgen Klopp, Thomas Tuchel and Pep Guardiola.
They form part of that elite top tier, which naturally includes the recently installed Conte. Of possible equals in that band, it is probably only Julian Nagelsmann and Diego Simeone who aren't working in England at the moment.
There are still some questions about Mauricio Pochettino and Erik ten Hag. The Argentine has already overachieved in the Premier League while the two are considered the top candidates for the Manchester United job come the summer. One will surely be the next big name to arrive.
It's easy to see why the Leeds fans love Marcelo Bielsa. Photo: Getty Images
It goes even further than that, as not only are the top coaches in the Premier League, their mentors and main influences are also present. Leeds United's Marcelo Bielsa was a key figure for Guardiola and Conte, with Rangnick influential on the counter-pressing culture that fostered Klopp and Tuchel, along with Ralph Hassenhuttl and Thomas Frank. That is quite a depth of coaching and tactical thinking. It creates all manner of manager trees, webs and networks.
Guardiola himself has superseded Bielsa as a football influence, with his appointment at Barcelona now generally accepted as a landmark moment in the tactical history of the game –similar to Arrigo Sacchi at Milan and Total Football at Ajax. Sacchi himself described it as a "before and after" in football. Guardiola, it could be said, has directly influenced Tuchel, Brendan Rodgers, Graham Potter, Bruno Lage and Eddie Howe.
Pep Guardiola has had a massive influence on football. Photo: Getty Images
Most of them have spoken about it. It was unavoidable since all developed as coaches in a football world transformed by Guardiola's philosophy. His principles were those they learned. As the most basic possible example, it is why everyone now looks to play it out from the back. It's incredible to think something now so standard was still seen as relatively alien even a decade ago. That only scratches the surface of Guardiola's influence on the game. It has been similar in Germany, with figures like Rangnick and Wolfgang Frank proving influential, along with Klopp himself.
The Catalan was, of course, in Germany throughout some of that time. It led to him adapting some of the counter-pressing principles of Klopp and Rangnick too. On the other side, Klopp has introduced more Spanish possession to his game at Liverpool. There has been a cross-pollination from facing each other in many big matches.
Defensive solidity, balance and possibility of long-term deal –Manchester United's Ralf Rangnick sets targets
'It would have been very naive not to try and learn from him' -Steven Gerrard speaks of respect for Brendan Rodgers
Newly appointed coaches, like Steven Gerrard, came through the more ordered defences of the old guard in Rafa Benitez before being introduced to modern principles under Klopp and Brendan Rodgers. It is similar to Patrick Vieira, who has consciously looked to evolve Crystal Palace.
It has been the trend across the Premier League and even the Championship. The effect of more sophisticated managers naturally forces other clubs to look at similar options. If you don't, you'll get left behind. It can be seen in so many recent managerial appointments and how many of the Premier League old guard, managers like Sam Allardyce and Tony Pulis, have been phased out.
Renaissance: David Moyes
Steve Parrish at Crystal Palace has openly said the club wants to do something "different". It is arguably only David Moyes, Claudio Ranieri, Benitez and Dean Smith who do not fit into these wider ideological groups, but all have naturally taken some of the principles of each to adapt. Moyes at West Ham provides the best example.
That evolution has already produced an exceedingly high level of football and probably made Liverpool, City and Chelsea the best teams in Europe right now, along with Bayern Munich. But what of the wider implications?
There is a historical theory that so many scientific and philosophical developments took place in western Europe – culminating in the Renaissance and Enlightenment – because the geographical area was small enough to create a network and exchange of ideas that naturally produced more ideas and more innovations.
Might we see a football version of this in the Premier League? Is this what Guardiola's adoption of gegenpressing and Klopp's of greater possession indicate? Whatever about players? It is historically rare to see so many elite managers in one division in any period. It didn't even get to that stage in Serie A in the 1990s, partly because of Italy's renowned culture of coaching through Coverciano. Their clubs generally appointed from within.
Tottenham Hotspur manager Antonio Conte celebrates at the end of the Premier League win over Marcelo Bielsa's Leeds. Photo: Adam Davy/PA Wire
That persists, and there is a pride that the country has produced more Premier League winning managers – Conte, Roberto Mancini, Claudio Ranieri, Carlo Ancelotti – than any other country. True tactical innovation will continue to take place in Serie A and Germany, but the key is where it goes after. The majority of their coaches are ultimately looking to England.
Amid all this excitable expectation, it is worth raising a sobering point. This climate probably isn't good for the game of football. No concentration of resources or quality in one area is. Sport is supposed to be about competitive vitality, but the Premier League's financial power is eroding that, making it a Super League in itself.
All of this is a consequence of the uncatchable financial strength of the competition, which appeared to reach another astounding height with the recent NBC deal. England is where the money is, which means it is the destination for the talent. It has created a brain drain for everywhere else but to the Premier League's benefit.
The game is at its highest level in England because of the quality of coaches at Premier League clubs, all conjuring methods to outdo each other. That is likely to see better English coaches coming through and better football in the division. It is unprecedented in football, but that perhaps fits since so many of these men have produced tactics that were unprecedented too.
Aston Villa boss Steven Gerrard has spoken of his respect for Leicester manager Brendan Rodgers ahead of Sunday's midlands derby between the two clubs.
Ralf Rangnick wants to bring some balance and defensive solidity to Manchester United.
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Karl Matchett Opinion Coming of age – Curtis Jones becomes part of the solution as Liverpool navigate crucial stage of season
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Blog > Archives for December 2016
Archives: December 2016
Humanity's greatest fear is about being irrelevant
Ian Tucker in conversation with Genevieve Bell for the Guardian
Writing for the Guardian, Ian Tucker talks to Genevieve Bell, the Australian anthropologist working at the Intel headquarters in Oregon, to explore our anxieties about rapidly developing technology, and artificial intelligence:
Genevieve Bell is an Australian anthropologist who has been working at tech company Intel for 18 years, where she is currently head of sensing and insights. She has given numerous TED talks and in 2012 was inducted into the Women in Technology hall of fame. Between 2008 and 2010, she was also South Australia's thinker in residence.
Why does a company such as Intel need an anthropologist?
That is a question I've spent 18 years asking myself. It's not a contradiction in terms, but it is a puzzle. When they hired me, I think they understood something that not everyone in the tech industry understood, which was that technology was about to undergo a rapid transformation. Computers went from being on an office desk spewing out Excel to inhabiting our homes and lives and we needed to have a point of view about what that was going to look like. It was incredibly important to understand the human questions: such as, what on earth are people going to do with that computational power. If we could anticipate just a little bit, that would give us a business edge and the ability to make better technical decisions. But as an anthropologist that's a weird place to be. We tend to be rooted in the present – what are people doing now and why? – rather than long-term strategic stuff.
A criticism that is often made of tech companies is that they are dominated by a narrow demographic of white, male engineers and as a result the code and hardware they produce have a narrow set of values built into them. Do you see your team as a counterbalance to that culture?
Absolutely. I suspect people must think I'm a monumental pain. I used to think my job was to bring as many other human experiences into the building as possible. Being a woman, being Australian and not being an engineer – those were all valuable assets because they gave me a very different point of view.
We are building the engines, so the question is not will AI rise up and kill us, but will we give it the tools to do so?
Now, the leadership of Intel is around 25% female, which is about what market availability is in the tech sector. We are conscious of what it means to have a company whose workforce doesn't reflect the general population. Repeated studies show that the more diverse your teams are, the richer the outcomes. You have to tolerate a bit of static, but that's preferable to the self-perpetuating bubble where everyone agrees with you.
You are often described as a futurologist. A lot of people are worried about the future. Are they right to be concerned?
That technology is accompanied by anxiety is not a new thing. We have anxieties about certain types of technology and there are reasons for that. We're coming up to the 200th anniversary of Mary Shelley's Frankenstein and the images in it have persisted.
Shelley's story worked because it tapped into a set of cultural anxieties. The Frankenstein anxiety is not the reason we worried about the motor car or electricity, but if you think about how some people write about robotics, AI and big data, those concerns have profound echoes going back to the Frankenstein anxieties 200 years ago.
Charlotte Mandell, Dan Fox, Shaun Whiteside and Jen Calleja on their highlights of the year.
As 2016 finally teeters on its last legs, we decided to take a look back over a few of the year's highlights for us. This year we were proud to publish excellent essays by Dan Fox, Jean-Philippe Toussaint, Svetlana Alexievich, and Ben Lerner; as well as works of fiction by John Keene, Ed Atkins, Clemens Meyer, and Agustín Fernández Mallo with the second installment of his brilliant Nocilla triology.
For this blog post we asked a few of our translators, and an author, to reminisce over some of their own cultural highlights of 2016: Charlotte Mandell, Shaun Whiteside, Jen Calleja, and Dan Fox tell us about their most memorable experiences of the year in literature, music, and the arts.
Charlotte:
For the past year I've been working on my translation of Mathias Énard's long novel Boussole (Compass), so much of my reading has been connected in some way to that: Edward FitzGerald's elegant translations of Omar Khayyam; Germain Nouveau's poetry, in the Pléiade edition that Sarah (one of the main characters) bemoans no longer features him; Xavier de Maistre's very funny Journey Around My Room. There are so many books mentioned in Compass that it would take years to read them all, but I'd certainly like to try, starting with Leg Over Leg by Ahmad Faris al-Shidyaq, a book that Sarah claims is one of the best novels of the nineteenth century in any language, not just in Arabic.
I suppose the cultural highlight of the year for me was a gorgeous production of the seldom-performed opera Iris by Mascagni, conducted by Leon Botstein, at the Bard Music Festival last July. It was beautifully sung by the soprano Talise Trevigne; the beginning of the third act, with its mysterious, Wagnerian overture, was one of the most haunting things I've ever seen in a live performance: Iris is shown falling in slow-motion, while tendrils of smoke rise up from the trash heap below. A screen between her and the audience made it look even more other-worldly and ethereal.
There's an exciting new publishing collective, an offshoot of Lunar Chandelier Press, called the Lunar Chandelier Collective, which published several innovative poetry books this past year, each one very different from the other: Heart Thread by my husband, Robert Kelly; Uncreated Mirror by a powerful young poet named Tamas Panitz; Waters Of by a lyrical and sensuous poet named Billie Chernicoff; and Porcelain Pillow, a poem that combines memoir and essay, by Thomas Meyer. Robert actually had four books published this year: The Hexagon, a long poem published by Commonwealth Books; Opening the Seals, a meditation on proto-language, published by Autonomedia Press; Heart Thread; and The Secret Name of Now, a selection of shorter, lyrical poems, from Dr. Cicero Press.
One of my favorite novels of the year, The Night Ocean, isn't actually out yet — we received an advance copy of it from its author, Paul La Farge. Its cast of characters includes H.P. Lovecraft, Robert Barlow, and William S. Burroughs, and the narration is so beautiful and intricately wrought that any summary would do it an injustice.
Finally, I've been caught up lately in Nocilla Dream by Agustín Fernández Mallo, from Fitzcarraldo Editions — another difficult-to-summarize novel, having to do with the interconnectedness of things and the illusory nature of reality. It's elegantly and convincingly translated by Thomas Bunstead. I'm looking forward to the next installment, Nocilla Experience. I'm also very excited about Emily Dickinson's Envelope Poems, just out from New Directions: there's a fascinating article about it by Dan Chiasson in the recent New Yorker, here, with this memorable sentence: "Her idiosyncratic punctuation sometimes feels like triage for the emergency conditions of her muse."
Charlotte Mandell has translated fiction, poetry, and philosophy from the French, including works by Proust, Flaubert, Genet, Maupassant, Blanchot, and many other distinguished authors. She translated Street of Thieves by Mathias Enard for Fitzcarraldo Editions, and has received many accolades and awards for her translations, including a Literature Translation Fellowship from the National Endowment for the Arts for Zone, also by Mathias Enard.
At the start of BS Johnson's pitch-black comic novel Christy Malry's Own Double-Entry (1973), the book's anti-hero, Christy, begins his adventure by taking an accountancy course. Here he learns the principle of double-entry bookkeeping: for every debit, there must be a corresponding credit. Christy is a miserable young man who rationalizes his dreary lot with the belief that the world has conspired against him. Deciding that the metaphysical books need to be balanced, he begins to apply the double-entry system to his life. Christy draws up a two-column ledger: one for 'Aggravations', the other for 'Recompense.' Each time life aggravates or 'debits' him he awards himself recompense, usually an act of minor vandalism. When for instance, he is forced to take a detour on his way to work, his compensation is to scratch the expensive stonework of a nearby building. As his sense of aggravation grows larger, the credit he demands becomes more gruesome.
What, I wonder, would the accounts look like for the calendrical crock of cowshit that called itself 2016?
AGGRAVATIONS RECOMPENSE
Donald Trump and related misery
Neo-fascism
22% of Great Barrier Reef coral dead
Record decline in Arctic sea ice
Pulse nightclub shooting, Orlando
Murder of Jo Cox
Death of David Bowie
Death of Prince
Death of Pauline Oliveros
Death of Sonia Rykiel
Death of Leonard Cohen
Death of Leonard of Mayfair
Death of Malick Sidibe
Death of Alan Vega
Death of Doris Lamar-McLemore (last speaker of the Wichita language)
Death of William Christenberry
Death of Jenny Diski
Death of Victoria Wood
Death of Harper Lee
Death of William Trevor
Death of Sharon Jones
Death of Kenny Baker
Death of David Mancuso
Death of Raoul Coutard
Death of Elaine Lustig Cohen
Death of David Antin
Death of Dario Fo
Death of Prince Buster
Death of Don Buchla
Death of Edward Albee
Death of Elie Wiesel
Death of Caroline Ahearne
Death of Abbas Kiarostami
Death of Billy Name
Death of Tunga
Death of Peter Shaffer
Death of Bernie Worrell
Death of Tony Feher
Death of Alvin Toffler
Death of Carla Lane
Death of Tony Conrad
Death of Ken Adam
Death of Merle Haggard
Death of Umberto Eco
Death of Pierre Boulez
Death of Alan Rickman
Death of Terry Wogan
Death of Jacques Rivette
Death of Zsa Zsa Gabor
Death of Scooter, the oldest cat in the USA
This myopically Western-centric and mostly arts-fixated list could go on. I am stumped for 'Recompense' line items that could truly balance the bereavement, fear, heartbreak and anger that the past year has brought. Nothing on my roll-call of admiration and pleasure is going to stop climate denial or bring down Donald Trump. But these talismans of open-minded thought, empathy and action serve as a reminder for me to keep going.
Denzil Forrester, White Columns, New York, and Tramps, London
Mark Leckey, 'Containers and Their Drivers', MoMA PS1, New York
Marc Camille Chaimowicz, The Serpentine Gallery, London
Paulina Olowska, Metro Pictures, New York
Bruce Conner, Museum of Modern Art, New York
Jessi Reeves, Bridget Donahue Gallery, New York
Danny Lyon, Whitney Museum of American Art, New York
Kerry James Marshall, Museum of Contemporary Art, Chicago
Diane Simpson, Museum of Contemporary Art, Chicago
Nicole Eisenman, New Museum and Anton Kern Gallery, New York
Lukas Duwenhogger, Artists Space, New York
'The Selfishness of Others: An Essay on the Fear of Narcissim' by Kristin Dombek
'Respectable: The Experience of Class' by Lynsey Hanley
'The Complete Madame Realism and Other Stories' by Lynne Tillman
'Here is Information. Mobilize.' by Ian White
'Arrival'
'Embrace of the Serpent'
'A Bigger Splash'
'Moonlight'
'Stranger Things'
'Black Mirror'
'Atlanta'
'Camping'
'Captain Fantastic'
'Lodestar', Shirley Collins
'Last Signs of Speed', Eli Keszler
'Juarez' and 'Lubbock (on everything)', Terry Allen
'We Got It from Here… Thank You 4 Your Service', A Tribe Called Quest
Borealis Festival, Bergen. (At this small, yet brilliant music festival, I discovered the stunningly strange father and daughter improvised pop duo Yeah You; a blistering footwork set from Jlin, the hypnotic Egyptian Females Experimental Music Session, and the premiere of Object Collection's new opera 'It's All True' – based on the complete archive of recorded gigs by the post-hardcore band Fugazi.)
The two works that made the biggest impression on me bookended the year. In January, it was a song: 'I Can't Give Everything Away', the final cut on David Bowie's final curtain album, Blackstar, released days before his death. Opening with warm string synths in respirating refrain, as if struggling for breath, and a plaintive harmonica line that directly echoes Bowie's 1977 track 'A New Career in a New Town' (what better description could there be for an afterlife?), the song begins with an admission with anxiety about the future; 'I know something's very wrong…' Over skittering drums, and an increasingly frenetic saxophone, the words 'I can't give everything away' are a line being drawn between the personal and private, or a defiant assertion of personal sovereignty. I've given you all the love I can, it seems to say, but now I must take care of myself or I will be reduced to nothing.
In December I saw Arthur Jafa's seven-and-a-half minute video 'Love is the Message, The Message is Death' at Gavin Brown's Enterprise, New York. Cut to Kanye West's song 'Ultralight Beam', Jafa's video pulls together reportage footage, cellphone video, and archival film of police shootings, civil rights marches, block parties, iconic performances by black musicians, and the burning surface of the sun. West's sparse, roboticized gospel track –problematised by the singer's recent support of Donald Trump – wrings pathos from the multiple video textures on screen, from the high-res to the low-grade and pixellated. Jafa's film has the quality of a trailer for a documentary, a tantalising promise of a longer cinematic survey of African American social history, but its compressed expression of the complexities, contradictions, tragedies and triumphs of the black experience in the USA is gut-wrenching. I don't know what could possibly balance the books.
Dan Fox is a writer, musician, and co-editor of frieze magazine, Europe's foremost magazine of art and culture. He is based in New York, and has published Pretentiousness: Why it Matters this year with Fitzcarraldo Editions.
Shaun:
What a year. Book-ended (more or less) by two black-edged farewells: Blackstar and You Want it Darker, just in case the message of 2016 hadn't got through. Both rare much more than coded farewells, and have seldom been off the stereo in our house. Goodbye, Bowie and Len.
In literature, the great event for me was Sam Garrett's translation of the Dutch classic The Evenings by Gerard Reve, first published in 1946 and never before translated into English. It's a dark, existential sitcom, very unsettling and in places very funny indeed. As a Dutch commentator described it: "Nothing happens, and it seems to have been written by a psychopath." Well done, Pushkin Press, and worth the 70-year wait.
The exhibition has to be Bosch in 'sHertogenbosch: the weirdness of the late medieval imagination laid bare in a comprehensive show bringing together works from all over the world, except the ones in the Prado, which it eventually joined when the show moved there. Wonderful.
In film, my favourite was the touching, subtle and ultimately conciliatory divorce drama After Love by Joachim Lafosse. He coaxes extraordinary performances from his actors, not least from the children.
But the most heart-stopping experience of all, on every level, was Akram Khan's Giselle at Sadler's Wells, to a semi-industrial score by Vincenzo Lamagna. This borrowed not only from classical ballet and Martha Graham, but from Bollywood and, most dramatically, Japanese horror movies. It was quite stunning, with dancers constantly transformed from objects into people and back into objects again. The scary second half in particular was a real treat, and Alina Cojocaru was of course amazing. Would almost restore your faith in humanity.
Shaun Whiteside is a translator from French, German, Italian and Dutch. His translations from French include novels by Amélie Nothomb, Patrick Rambaud, Michèle Desbordes, Georges-Marc Benamou, and Georges Simenon, as well as works of non-fiction by Pierre Bourdieu and Anne Sinclair. He translated Football by Jean-Philippe Toussaint for Fitzcarraldo Editions, and lives in London.
Jen:
Exhibition – Helen Marten, Tate Britain/Serpentine Gallery
I went to see the Turner Prize with a very good friend of mine and we both experienced a kind of epiphany when we saw Marten's work. Afterwards we bought her book Parrot Problems, and while flicking through saw that she was due to have a solo exhibition at the Serpentine. We headed straight there and spent what felt like hours taking in her poetic reflection of contemporary life, it's almost as if it's everything in existence refracted through dreams back into materiality and image. I couldn't be happier for her win (the last time I fell in awe with a Turner Prize winner was Richard Wright, I think) and I especially commend and celebrate her sharing of her prize money with the other artists shortlisted (for the second time in as many months) against the winner/loser hierarchy.
Fiction – Michelle Steinbeck, Mein Vater war ein Mann an Land und im Wasser ein Walfisch (My Father was a Man on Land and a Whale in the Water) & Max Porter, Grief is the Thing with Feathers
I'm currently in Zurich working on my first novel and I've been savouring this short book by Swiss writer Steinbeck. It's a dark contemporary fairy tale where anything can happen, and opens with a woman accidently killing a child with an iron, stuffing it in a suitcase and being told by a wise woman to track down her father to give the suitcase to him. One critic said that she had to be sick in the head to write something like this but to write this kind of thing you have to be absolutely attuned to the structures of reality and your own consciousness. This book isn't translated into English yet, sorry. But you can read a review in English in the latest issue of New Books in German.
I read Max's GITTWF – that just won its one hundredth award this week – on a flight to Italy. Well actually, I read it within the first hour or so and didn't have anything else to read for the rest of the flight. In that short time I laughed, cheered, was left breathless, and then left devastated. For a writer also writing a novel in juxtaposing fragments it's got a reassuringly small word count and a massive impact that still wakes me in the middle of the night or interrupts my thoughts while waiting in queues.
Poetry – Jack Underwood, Happiness
Jack's poetry has spoken to me for years and he definitely made me feel that there was a place in poetry for my kind of writing and the kinds of things I wanted to write about. I've returned to this book may times this year, soothed by the melancholic hesitancy, depiction of personal embarrassment and unstoppable worrying.
Non-Fiction – Maggie Nelson, The Argonauts & Chris Kraus, I Love Dick.
These have been two life- and game-changing books for many people. I did that whole 'resist the hype' thing I always do and then bought Nelson based on a recommendation from a friend who then bought me Kraus because she was moving to Australia. Just the quality of writing, the integrally experimental forms, and the unsurpassable honesty of both books have changed autobiographical, essay and feminist writing forever. Rebecca May Johnson and I are making loose plans to start a reading group next year and these will be the first two books for sure.
Record – Anxiety, Anxiety
Glasgow's Anxiety made the perfect punk record. It's not just the record though, they break out the best unhinged, be-gloved live show I've seen since getting to watch Vexx many times around the UK last year. After listening to this record constantly, you should listen to frontman Michael Kasparis' solo project Apostille, which sounds pleasant on record, but live is like watching a mean and sarcastic wailing goblin addicted to dancing sweating profusely over various electronics, and bassist Helena Celle's new synth record is subterranean and distorted, absorbingly submerged like it's bubbling up out of water.
Jen Calleja is a writer and literary translator from German. She translated Nicotine by Gregor Hens for Fitzcarraldo Editions and her debut collection of poetry Serious Justice is published by Test Centre. She is currently translating Kerstin Hensel for Peirene Press and Wim Wenders for Faber & Faber. Throughout December and January she is index writer in residence working on her first novel.
Devils in Dalston
Anna Aslanyan writing for the Times Literary Supplement
Last week Anna Aslanyan caught up with writer, filmmaker, and psychogeographist Iain Sinclair in the wake of the publication of his latest book My Favourite London Devils. For the Times Literary Supplement, they talk about the memories that haunt his writing of London:
"You couldn't imagine anything like this here", Iain Sinclair said, gesturing at the interior of Burley Fisher Books, a year-old venture in Dalston. Sinclair has lived in and tirelessly explored this part of East London for nearly half a century; back in the 1970s, he ran his Albion Village Press from home and was a "trader in forlorn and forgotten literature", selling books from stalls. The new bookshop, in the middle of what has been branded the coolest place in Britain by the media, sells books and bagels by day, while by night, true to its promise to "be an asset to the local community", it runs events.
It was packed for the recent launch of Sinclair's new book My Favourite London Devils, a collection of essays dedicated to authors who, like himself, found their muse in London. Written over the past decade and a half, these pieces were recovered from storage and revised by Sinclair. Read together, they prove yet again that London is an inexhaustible theme, and that Sinclair's take on it never stands still, mirroring the city in flux.
The book's subjects range from famous to "eternally rediscovered", to "reforgotten" – until, that is, Sinclair got on to them. Joseph Conrad – who on his return from the Congo was treated at the German Hospital in Dalston – and his The Secret Agent (1907) are mentioned in a piece written in the wake of the 7/7 bombings. One vignette shows Peter Ackroyd at a poetry reading in Earl's Court, and together with another of the devils, Michael Moorcock, he and Sinclair have an eventful night out. Ackroyd has said that Sinclair's poem "Lud Heat" was an inspiration for his novel Hawksmoor (1985).
Carsten Höller in Kinshasa – Democratic Republic of the Congo
Carsten Höller in Purple Magazine
In 2014, Belgian Artist Carsten Höller premiered Fara Fara, a 13 minute film on a double screen exploring and reimagining Kinshasa's vibrant music and dance scene. Later a 2015 Venice Biennale favourite, he remembers his travels to the Democratic Republic of Congo in Purple Magazine:
I'm on the plane to Kinshasa with four Europeans, none of whom has ever been to sub-Saharan Africa before. N'Djili Airport has been poshed up since I was there last, in 2011. To my disappointment, the little tourist information kiosk, where all they had was one postcard with some lounging bonobos, has disappeared. Same for the chair that was screwed to a wall because it lacked hind legs. We say hello to Papa Wemba in the lounge — our father of the rumba, Notre Père Rumba, as one of his albums is called. He came on the same Air France flight as us. There used to be huge crowds outside the airport when he came back from Europe, but not anymore.
We head straight to Zamba Playa, where Werrason is playing in front of a few hundred people. The five-lane highway to the city is brand new. It's Chinese, but well done. They give us plastic chairs, placed in front of the stage, first row. Of course, no other whities. I wonder how my co-continentals feel about that. Finally, Primus. Werrason addresses the crowd, asking which of the two versions of the same song they like better. This is Congolese democracy. Madness. At the parliament, he says, "People, sit down," to cool down the frenetically excited. He's the only musician I've ever seen trying to calm down his public.
More Primus. Bellou drinks Turbo King, which is a strong dark beer. He's our "cultural manager," as he puts it. He is with Carlos, our driver and LeBrun and Maître Bola, who are here for our security. The music promoter Steve — with whom I organized Werrason (2004) and Koffi Olomidé (2005) concerts in Stockholm — also shows up. I am with Elin, George, Giovanna, and Pierre, and even at 11 PM, it's very hot indeed.
Bercy Muana, the animateur with a third eye tattooed on his forehead, jumps and shouts like a psychotic wildebeest. Werrason is still trying to appease, but by now this seems more like an attitude, and he smiles. I am told that Bercy, whom they call "Goosebumps," is coming from Ferre Gola. They call Werrason "King of the Forest." And they call Bellou "Hakuna Matata" and "The Banker From Paris." We finally make it to Chez Ntemba, my favorite nightclub in the world. The Primus is like machine oil. We all get dédicaces — shout-outs — from DJ Frank. No extra names for us, though. Over the years, Carlos has called me "Mopao," but that's an exaggeration because it means "big boss." Koffi Olomidé is called that. My four fellow travelers have already lost all connection to spaceship Europe.
We are here to work on a book about a film that has not yet been made. Maybe it never will be, like an endless project, or like Synecdoche, New York, with Philip Seymour Hoffmann. The book can be the script for the film. Elin will write the text. George is the cutter. Giovanna is the editor and photographer. Pierre is the photographer; I told him I want old-style paparazzi pictures, with the camera in one hand and the flash in the other. That's why we are here: they need to see and hear this.
Luigi Ghirri's Brilliant Photographic Puzzles
Teju Cole writing for the New York Times Magazine
Author and photographer Teju Cole delves into the illusionary world of Luigi Ghirri for his New York Times Magazine column, On Photography:
I look at Luigi Ghirri's work daily: There's a postcard reproduction of one of his photographs on my fridge. It depicts four women, turned away from us and toward a mountainous landscape. They could be taking in an actual vista — the perspective is correct — but the mountains and their intervening lakes have text superimposed on them, and so we realize the women are standing before an image of a landscape, either a poster or a mural. Ghirri took the photograph in Salzburg, Austria, in 1977. I find it reassuring, amusing (that slight stutter in parsing it), simultaneously simple and complex in ways that are difficult to explain.
Luigi Ghirri was one of the outstanding photographers of his generation. His work was largely made in Europe, and most of it focused on a small area of northern Italy, the region of Emilia-Romagna, where he was born and where he died, in 1992, of a heart attack at the too-young age of 49. Today, his work is in a peculiar posthumous phase, both celebrated and elusive. Perhaps no Italian photographer of the 20th century was more influential: There are traces of his gentle, lucid, cerebral style all over contemporary photography. As of a few years ago, I had seen his images in articles and exhibitions, but information about him was hard to come by. I bought several books dedicated to his work that were in Italian, a language I don't read. An English-language collection, published as "It's Beautiful Here, Isn't It … ," was in print but scarce.
Ghirri's pictures are calm and mysterious — just a bit out of reach, like his books. His constellation of favored themes is distinct: maps, landscapes, windows, still lifes, interiors, fog, the seaside, the objects in artists' studios, people obscured in some way and many images that test the divide between the world and an image of the world (murals, miniatures, postcards), often bearing an ironic gleam. You feel that in each picture there's more than meets the eye, but the feeling remains unresolved.
Ghirri's work is in full color, like that of William Eggleston, the American photographer with whom he has the strongest kinship and who admires him greatly. But Ghirri does not share Eggleston's intense hues, the angry reds and livid greens that Eggleston hunted down in unspectacular everyday subjects. Ghirri's favored palette is pale, soothing, often tending toward pastel, as if the images did not wish to speak too loudly or overassert their presence. Contrary to the current trend in art photography, his pictures are printed small, sometimes no bigger than the size of a snapshot. On a gallery wall, even at such modest scale — or because of the scale — they are remarkably effective. In a group show, they stand out like brilliant individual lines of poetry amid the undifferentiated prose of much larger pictures.
The recent publication of "Luigi Ghirri: The Complete Essays 1973-1991" (Mack) enriches and complicates our sense of Ghirri's achievement. Right from the beginning of his career, he wrote frequently and with great intelligence about his own work and the work of other photographers. "The Complete Essays" comprises 68 texts, most of them brief, in which he presents an allusive, fragmented and recursive account of his photographic philosophy. Some of his arguments can be abstruse, and rarely does he give interpretations of individual pictures. But at several moments, he produces lines of epigrammatic clarity that echo the lucidity of his photographs. "Every part of the landscape, from the roofs of houses to signs on walls, seems to await recognition via his loving eye." The sentence, which appears in an essay on Walker Evans, applies very well to Ghirri himself.
Olga Tokarczuk in Asymptote
We are delighted to be publishing Olga Tokarczuk's Flights in May 2017. Olga Tokarczuk is one of Poland's best and most beloved authors. In 2015 alone she has received the Brueckepreis and the prestigious annual literary award from Poland's Ministry of Culture and National Heritage, as well as Poland's highest literary honor, the Nike, and the Nike Readers' Prize. Here is a short excerpt from Jennifer Croft's translation of Flights:
I studied psychology in a big, gloomy Communist city. My department was located in a building that had been the headquarters of an S.S. unit during the war. That part of the city had been built up on the ruins of the ghetto, which you could tell if you took a good look—that whole neighborhood stood about three feet higher than the rest of the town. Three feet of rubble. I never felt comfortable there; between the new Communist buildings and the paltry squares there was always a wind, and the frosty air was particularly bitter, stinging you in the face. Ultimately it was a place that still, despite construction, belonged to the dead. I still have dreams about the building where my classes were—its broad hallways that looked like they'd been carved into stone, smoothed down by people's feet, the worn edges of the stairs, the handrails polished by people's hands, traces imprinted in space. Maybe that was why we were haunted by those ghosts.
When we'd put rats in a maze, there was always one whose behavior would contradict the theory and would refuse to care about our clever hypotheses. It would stand up on its little hind legs, absolutely indifferent to the reward at the end of our experimental route; disdaining the perks of Pavlovian conditioning, it would simply take one good look at us and then turn around, or turn its attention to the unhurried exploration of the maze. It would look for something in the lateral corridors, trying to attract attention. It would squeak, disoriented, and then the girls, despite the rules, would usually take it out and hold it in their hands.
The muscles of a dead, splayed frog would flex and straighten to the rhythm of electrical pulses, but in a way that had not yet been described in our textbooks—it would gesture to us, its limbs making clear signs of threats and taunts, thereby contradicting our hallowed faith in the mechanical innocence of physiological reflexes.
Here we were taught that the world could be described, and even explained, by means of simple answers to intelligent questions. That in its essence the world was inert and dead, governed by fairly simple laws that needed to be explained and made public—if possible with the aid of diagrams. We were required to do experiments. To formulate hypotheses. To verify. We were inducted into the mysteries of statistics, taught to believe that equipped with such a tool we would be able to perfectly describe all the workings of the world—that ninety percent is more significant than five.
But if there's one thing I know now, it's that anyone looking for order ought to steer clear of psychology altogether. Go for physiology or theology instead, where at least you'll have solid backing—either in matter or in spirit—instead of psychology's slippery terrain. The psyche is quite a tenuous object of study.
It turned out it was true what some people said about psychology being a major you choose not because of the job you want, or out of curiosity or a vocation to help others, but rather for another very simple reason. I think all of us had some sort of deeply hidden defect, although we no doubt all gave the impression of intelligent, healthy young people—the defect was masked, skillfully camouflaged at our entrance exams. A ball of tautly tangled emotions breaking down, like those strange tumors that turn up sometimes in the human body and that can be seen in any self-respecting museum of pathological anatomy. Although what if the people who administered our exams were the same sort of people, and in reality they knew exactly what they were doing? In that case, we would be their direct heirs. When, in our second year, we discussed the function of defense mechanisms and found that we were humbled by the power of that portion of our psyche, we began to understand that if it weren't for rationalization, sublimation, denial—all the little tricks we let ourselves perform—if instead we simply saw the world as it was, with nothing to protect us, honestly and courageously, it would break our hearts.
What we learned in college was that we are made up of defenses, of shields and armor, that we are cities whose architecture essentially comes down to walls, ramparts, strongholds; bunker states.
Every test, questionnaire, and study we conducted on each other, as well, so that by the time we got through our third year I had a name for what was wrong with me; it was like discovering my own secret name, the name that summons one to an initiation.
Ur-Fascism
Umberto Eco writing for the New York Review of Books in 1995
Thinking back to his childhood under Mussolini, Umberto Eco outlines the fundamental features of Eternal Fascism:
In 1942, at the age of ten, I received the First Provincial Award of Ludi Juveniles (a voluntary, compulsory competition for young Italian Fascists—that is, for every young Italian). I elaborated with rhetorical skill on the subject "Should we die for the glory of Mussolini and the immortal destiny of Italy?" My answer was positive. I was a smart boy.
I spent two of my early years among the SS, Fascists, Republicans, and partisans shooting at one another, and I learned how to dodge bullets. It was good exercise.
In April 1945, the partisans took over in Milan. Two days later they arrived in the small town where I was living at the time. It was a moment of joy. The main square was crowded with people singing and waving flags, calling in loud voices for Mimo, the partisan leader of that area. A former maresciallo of the Carabinieri, Mimo joined the supporters of General Badoglio, Mussolini's successor, and lost a leg during one of the first clashes with Mussolini's remaining forces. Mimo showed up on the balcony of the city hall, pale, leaning on his crutch, and with one hand tried to calm the crowd. I was waiting for his speech because my whole childhood had been marked by the great historic speeches of Mussolini, whose most significant passages we memorized in school. Silence. Mimo spoke in a hoarse voice, barely audible. He said: "Citizens, friends. After so many painful sacrifices … here we are. Glory to those who have fallen for freedom." And that was it. He went back inside. The crowd yelled, the partisans raised their guns and fired festive volleys. We kids hurried to pick up the shells, precious items, but I had also learned that freedom of speech means freedom from rhetoric.
A few days later I saw the first American soldiers. They were African Americans. The first Yankee I met was a black man, Joseph, who introduced me to the marvels of Dick Tracy and Li'l Abner. His comic books were brightly colored and smelled good.
One of the officers (Major or Captain Muddy) was a guest in the villa of a family whose two daughters were my schoolmates. I met him in their garden where some ladies, surrounding Captain Muddy, talked in tentative French. Captain Muddy knew some French, too. My first image of American liberators was thus—after so many palefaces in black shirts—that of a cultivated black man in a yellow-green uniform saying: "Oui, merci beaucoup, Madame, moi aussi j'aime le champagne…" Unfortunately there was no champagne, but Captain Muddy gave me my first piece of Wrigley's Spearmint and I started chewing all day long. At night I put my wad in a water glass, so it would be fresh for the next day.
In May we heard that the war was over. Peace gave me a curious sensation. I had been told that permanent warfare was the normal condition for a young Italian. In the following months I discovered that the Resistance was not only a local phenomenon but a European one. I learned new, exciting words like réseau, maquis, armée secrète, Rote Kapelle, Warsaw ghetto. I saw the first photographs of the Holocaust, thus understanding the meaning before knowing the word. I realized what we were liberated from.
Jan Dammu in Asymtote
Four poems by Jan Dammu have been translated from the Arabic by Suneela Mubayi. Jan Dammu was born in Kirkuk, Iraq, in 1943. He spent most of his life in Baghdad's bars and cafes, living a counterculture lifestyle until moving to Australia (via Jordan) where he died in 2003:
Schubert the Greek
Is it a new birth,
insomnia's sediments
from feathers, memories,
and bullets?
A new departure, a counter-departure.
There is no equality yet between
snow's shadow and shadow's ash.
Should one take refuge in Narcissus (or Bacchus)
for the sake of decoding the talismanic rose
or the butterflies that flit
in the corridors opened by our sleep
that fossilize us?
How distant are the paved roads of childhood.
How close are the roads of death.
Greek sculptures are capable of
the liquidation of minds that alienation's echo
filled with dirt.
Schubert once more, and the tears are not enough.
It is our duty to toss the keys into the President's hands.
Bore deeper into your aversion, O reality,
as that might be more becoming for the ripping up of the stars.
Stars! A foot in search of something that resembles it. A foot that sprouts leaves with dreams. A foot that severs.
The axe that was crafted to cut trees trunks will remain an axe always.
The final arrival to the realm of my arms was on Tuesday.
Between rain and reality, god's shadow
descends.
Here I am, en route to practice my humanity.
The room is box-shaped, just like the heart,
With the last of my cigarettes, anxiety reaches its most ferocious state.
I descend.


This repository is dedicated to documenting and modelling every single aspect of the Semitic languages. The main database holds a record of all known roots that have been entered so far, and gives many criteria by which to search and compare them.
The script used for the roots is the Ancient South Arabian script known as the "Musnad". This script was chosen because it is the only known Semitic abjad that contains graphemes for all of the known Semitic phonemes. As this abjad has only recently been included in the Unicode specification, it's not included on most Operating Systems. Therefore you'll need to download the Musnad font from our downloads section. The script is fairly easy to learn (only took me about a day or two) and it is a much better choice than using Latin characters, with various modified characters to represent those letters not known in Latin-based alphabets. The use of the Musnad for the roots does not mean the roots are necessarily existent in the Ancient South Arabian languages, the script is being used as a general way to represent common Semitic roots. However when the script appears in a word, then it is being used to represent an Ancient South Arabian word.


text:
package cck.parser;

/**
 * The AbstractParseException represents a parse exception that was thrown by one of the parsers
 * generated by JavaCC. It is the supertype of all generated ParseException classes so that they can be
 * unified here.
 *
 * @author Ben L. Titzer
 */
public class AbstractParseException extends RuntimeException {

    private static final long serialVersionUID = 1L;

    /**
     * This constructor is used by the method "generateParseException" in the generated parser.  Calling this
     * constructor generates a new object of this type with the fields "currentToken",
     * "expectedTokenSequences", and "tokenImage" set.  The boolean flag "specialConstructor" is also set to
     * true to indicate that this constructor was used to create this object. This constructor calls its super
     * class with the empty string to force the "toString" method of parent class "Throwable" to print the
     * error message in the form: ParseException: <result of getMessage>
     */
    public AbstractParseException(AbstractToken currentTokenVal, int[][] expectedTokenSequencesVal, String[] tokenImageVal) {
        super("");
        specialConstructor = true;
        currentToken = currentTokenVal;
        expectedTokenSequences = expectedTokenSequencesVal;
        tokenImage = tokenImageVal;
        AbstractToken tok = currentToken.getNextToken();
        sourcePoint = new SourcePoint(tok.file, tok.beginLine, tok.beginColumn, tok.endColumn);
    }

    /**
     * The following constructors are for use by you for whatever purpose you can think of.  Constructing the
     * exception in this manner makes the exception behave in the normal way - i.e., as documented in the
     * class "Throwable".  The fields "errorToken", "expectedTokenSequences", and "tokenImage" do not contain
     * relevant information.  The JavaCC generated code does not use these constructors.
     */

    public AbstractParseException() {
        specialConstructor = false;
    }

    public AbstractParseException(String message) {
        super(message);
        specialConstructor = false;
    }

    /**
     * This variable determines which constructor was used to create this object and thereby affects the
     * semantics of the "getMessage" method (see below).
     */
    protected boolean specialConstructor;
    /**
     * This is the last token that has been consumed successfully.  If this object has been created due to a
     * parse error, the token followng this token will (therefore) be the first error token.
     */
    public AbstractToken currentToken;
    /**
     * Each entry in this array is an array of integers.  Each array of integers represents a sequence of
     * tokens (by their ordinal values) that is expected at this point of the parse.
     */
    public int[][] expectedTokenSequences;
    /**
     * This is a reference to the "tokenImage" array of the generated parser within which the parse error
     * occurred. This array is defined in the generated ...Constants interface.
     */
    public String[] tokenImage;
    /**
     * The end of line string for this machine.
     */
    protected String eol = System.getProperty("line.separator", "\n");

    public SourcePoint sourcePoint;

    /**
     * Used to convert raw characters to their escaped version when these raw version cannot be used as part
     * of an ASCII string literal.
     */
    protected String add_escapes(String str) {
        StringBuffer retval = new StringBuffer();
        char ch;
        for (int i = 0; i < str.length(); i++) {
            switch (str.charAt(i)) {
                case 0:
                    continue;
                case '\b':
                    retval.append("\\b");
                    continue;
                case '\t':
                    retval.append("\\t");
                    continue;
                case '\n':
                    retval.append("\\n");
                    continue;
                case '\f':
                    retval.append("\\f");
                    continue;
                case '\r':
                    retval.append("\\r");
                    continue;
                case '\"':
                    retval.append("\\\"");
                    continue;
                case '\'':
                    retval.append("\\\'");
                    continue;
                case '\\':
                    retval.append("\\\\");
                    continue;
                default:
                    if ((ch = str.charAt(i)) < 0x20 || ch > 0x7e) {
                        String s = "0000" + Integer.toString(ch, 16);
                        retval.append("\\u");
                        retval.append(s.substring(s.length() - 4, s.length()));
                    } else {
                        retval.append(ch);
                    }
            }
        }
        return retval.toString();
    }
}

redpajama_set_name: RedPajamaGithub


text:
import h2o
from h2o.estimators.deepwater import H2ODeepWaterEstimator

# Start or connect to H2O
h2o.init(nthreads=-1, strict_version_check=False)

# Import data and transform data
train = h2o.import_file("bigdata/laptop/deepwater/imagenet/cat_dog_mouse.csv")

# Load network
network_model = H2ODeepWaterEstimator(epochs=0, mini_batch_size=32, network="user", network_definition_file="Inception_BN-symbol.json", network_parameters_file="Inception_BN-0039.params", mean_image_file="mean_224.nd", image_shape=[224,224], channels=3)

network_model.train(x=[0], y=1, training_frame=train)

# Extract deep features
extracted_features = network_model.deepfeatures(train, "global_pool_output")

# Seperate records to a references and queries
references = extracted_features[5:,:]
queries = extracted_features[:3,:]

# Compute similarity
similarity = references.distance(queries, "cosine")

# Verify shapes
print("references: " + str(references.shape))
print("queries: " + str(queries.shape))
print("similarity: " + str(similarity.shape))

# View similarity frame
print(similarity.head())


text:
Herbert Hofmann (* 16. Juli 1936 in Grünlas (Grafengehaig); † 22. November 2014 in Stadtsteinach) war ein deutscher Politiker (CSU).

Nach einer Fachausbildung mit Fachschule und einem Fremdpraktikum sowie einer Volontärzeit war Hofmann von 1958 bis 1970 Geschäftsführer im Bayerischen Bauernverband in Kulmbach und zeitweise an der Hauptgeschäftsstelle in Bamberg tätig. Danach war er Geschäftsführer der Forstwirtschaftlichen Vereinigung Oberfranken.

Den Kreistagen des Altlandkreises Stadtsteinach sowie des Landkreises Kulmbach gehörte er von 1966 bis zum Jahr 2014 insgesamt 48 Jahre lang an. 1972 wurde er im Kreistag von Kulmbach Fraktionsvorsitzender der CSU. Er war Vorsitzender der CSU im Kreisverband Kulmbach, langjähriger stellvertretender Vorsitzender der Jungen Union Oberfranken und Schriftführer im CSU-Bezirksvorstand Oberfranken. Von 1970 an vertrat er den Stimmkreis Kulmbach im Bayerischen Landtag, bis er am 18. Juli 1984 sein Mandat niederlegte, da er zum Landrat gewählt wurde. Dieses Amt hatte er bis 1996 inne. Ganz besonders lag ihm die Plassenburg als Wahrzeichen von Stadt und Landkreis Kulmbach am Herzen, für die er sich Jahrzehnte lang engagierte. Zwischen 1977 und 2009 war er mit kurzen Unterbrechungen 30 Jahre lang im Vorstand des Vereins Freunde der Plassenburg tätig, zuletzt 12 Jahre als stellvertretender Vorsitzender.

Auszeichnungen
 Bundesverdienstkreuz erster Klasse
 Plassenburg-Medaille in Gold (1998)
 Ehrenteller der Plassenburg, vergeben von der Bayerischen Schlösserverwaltung, 2002.
 Bayerischer Verdienstorden (1980)
 Ehrenmedaille des Bezirks Oberfranken
 Staatsmedaille in Gold für Verdienste um die bayerische Landwirtschaft (2002)
 Ehrenring des Landkreises Kulmbach
 Ehrenvorsitzender der Forstwirtschaftlichen Vereinigung Oberfranken (2009)

Weblinks

Einzelnachweise

Landtagsabgeordneter (Bayern)
Landrat (Landkreis Kulmbach)
CSU-Mitglied
Träger des Bundesverdienstkreuzes am Bande
Träger des Bayerischen Verdienstordens
Deutscher
Geboren 1936
Gestorben 2014
Mann


Malware volume, ransomware attacks, encrypted threats & other cyberattacks increase in 2018, research from network & endpoint security firm SonicWall shows.
Malware volume, ransomware attacks, encrypted threats and chip-based cyberattacks increased in the first six months of 2018, according to cybersecurity research conducted by endpoint and network security solutions provider SonicWall.
More than 5.99 billion malware attacks were recorded during the first half of 2018, up 102 percent year over year.
There were more than 181.5 million ransomware attacks in the first six months of 2018, which represents a 229 percent year-over-year increase.
Encrypted attacks rose 275 percent year over year in the first half of 2018.
SonicWall Real-Time Deep Memory Inspection (RTDMI) technology has been used to identify more than 12,300 malware variants thus far in 2018, the company indicated. In addition, RTDMI has helped organizations detect and block unknown mass-market malware, including malicious PDFs and attacks leveraging Microsoft Office documents.
RTDMI was unveiled in February and enables Capture Cloud Platform users to discover malware strands that often go undetected by sandboxing technology, according to SonicWall. It detects and blocks malware that does not exhibit any malicious behavior and hides its weaponry via custom encryption and resolves cyberattacks where weaponry is exposed for less than 100 nanoseconds.
In addition, RTDMI identifies and mitigates modern cyber threats, including Spectre and Meltdown exploits, SonicWall indicated. It also provides automated breach detection and prevention to SonicWall's partners and customers.
Capture Client: Enables security administrators to query known verdicts for suspicious files on endpoints and servers and whitelist applications to avoid false positives.
Capture Security Center: Allows an organization to manage its security ecosystem from the cloud.
Cloud App Security: Delivers visibility and control of software-as-a-service (SaaS) applications being used by employees, promotes secure app usage and reduces the risk of shadow IT.
Next-Generation Firewalls: Use machine learning security technologies to safeguard organizations against ransomware, zero-day attacks and other cyber threats.
Capture Cloud integrates next-generation endpoint, firewall and cloud application security with management, reporting, analytics and cyber threat visibility, according to SonicWall. By doing so, Capture Cloud helps organizations protect their networks, email, endpoints and mobile and remote users against cyberattacks.
SonicWall offers breach detection and prevention solutions to more than 500,000 organizations worldwide. It collaborates with over 26,000 channel partners and supports customers in over 200 countries and territories.
Furthermore, SonicWall in May recapped the company and now operates as a standalone business. SonicWall also has surpassed its financial objectives for six consecutive quarters and recorded a 90-plus percent customer renewal rate in the first quarter of 2018.


text:
Vangueria lasiantha är en måreväxtart som först beskrevs av Otto Wilhelm Sonder, och fick sitt nu gällande namn av Otto Wilhelm Sonder. Vangueria lasiantha ingår i släktet Vangueria och familjen måreväxter. Inga underarter finns listade i Catalogue of Life.

Källor

Externa länkar

Måreväxter
lasiantha


text:
Bernice L. McFadden
It's Our Anniversary
20th Anniversary of Sugar
A novel by a critically acclaimed voice in contemporary fiction, praised by Ebony for its "unforgettable images, unique characters, and moving story that keeps the pages turning until the end."
A young prostitute comes to Bigelow, Arkansas, to start over, far from her haunting past. Sugar moves next door to Pearl, who is still grieving for the daughter who was murdered fifteen years before. Over sweet-potato pie, an unlikely friendship begins, transforming both women's lives—and the life of an entire town.
Sugar brings a Southern African-American town vividly to life, with its flowering magnolia trees, lingering scents of jasmine and honeysuckle, and white picket fences that keep strangers out—but ignorance and superstition in. To read this novel is to take a journey through loss and suffering to a place of forgiveness, understanding, and grace.
10th Anniversary of Glorious
Glorious is set against the backdrops of the Jim Crow South, the Harlem Renaissance, and the Civil Rights era. Blending fact and fiction, Glorious is the story of Easter Venetta Bartlett, a fictional Harlem Renaissance writer whose tumultuous path to success, ruin, and ultimately revival offers a candid and true portrait of the American experience in all its beauty and cruelty.
It is a novel informed by the question that is the title of Langston Hughes's famous poem: What happens to a dream deferred? Based on years of research, this heart-wrenching fictional account is given added resonance by factual events coupled with real and imagined larger-than-life characters. Glorious is an audacious exploration into the nature of self-hatred, love, possession, ego, betrayal, and, finally, redemption.
The 10th-anniversary hardcover edition is available from Akashic Books for $20.OO. It's $33 elsewhere.
http://www.akashicbooks.com/catalog/glorious/
Makeda Miller Photography
Copyright © 2021 Bernice L. McFadden. All Rights Reserved. | Website by PageTurner.net


text:
Kinthali is a village in Srikakulam district of the Indian state of Andhra Pradesh. It is located in Ponduru mandal (a.k.a. tehsil or administrative division) of Srikakulam revenue division.

References

Villages in Srikakulam district


At school, Rebecca diligently read the guidebook for the Dollarmites Club to figure out how to maximise her savings. At just eight years of age, she set a car fund in motion, and honed her financial fitness blitzing her friends at Monopoly.
"I'm passionate about getting the everyday person having a fun and engaging conversation about financial wellbeing the same way we do about eating well and exercising," she says.
She solidified her passion for finances with a Commerce degree followed by a few years in the corporate finance world at KPMG, before joining the Wealth Enhancers team.
"I want to continue with my learning, focusing on developing my technical skills, my coaching skills, but also moving into more positive psychology studies down the track," she says.
Rebecca wants to engage the younger demographic in financial planning and literacy, providing "fluid advice solutions" for young people that are always on the go and have a "global mindset". She prefers to use a range of communication resources at her disposal – from Instagram, email and Snapchat – to connect with her clients.
© 2018 Australia and New Zealand Banking Group Limited (ANZ) ABN 11 005 357 522. ANZ's colour blue is a trade mark of ANZ.


Nowadays academies are regarded as professional businesses in their own right and the importance of having a top quality and up to date academy website has never been greater. Designing a website for an academy requires special attention to the regulations set by the government and inspected by Ofsted to ensure your website is fully compliant and future proofed.
Ofsted takes a keen interest in an academies website and they have a strict framework for essential content and usability guidelines.
They will actually read your website in full before inspections to gather as much information about your academy as possible.
In fact under the current Ofsted protocol for briefer inspections approximately 90% of all the information the inspectors are interested in will be expected to be clearly and easily assessible via your website.
Your website will be scrutinised by Ofsted approximately two weeks prior to your inspection date.
There is a specific and complex list of requirements governing what information should be published online via your academies website. It is important that this information is presented in a simple and straightforward manner so that it is easy to access on the the site by any visitor. The regulations are changing rapidly as the Government regulations regarding the running of academies evolves.
In order to ensure you comply with the latest standard we recommend consult the UK Government's official site.
We build professional user friendly academy websites, once completed all our academies have access to our very easy and intuitive self editing platform, so they can always keep their site up to date and add any number of pages or content from the comfort of their workplace or home.
Many academies use template website designs which look like friendly fun sites for children with pencil image menu's and over complicated illustrated designs. Sadly they all too often end up looking messy and disorganised, with key information either lost or difficult to find.
These sites miss the fundamental point that most visitors / stakeholders to a academies website are actually adults looking for factual information about the academy. We build academy websites with simple clear navigation and design, so that visitors can find the information they are looking for quickly and easily. We also build in great functionality like learning zones for children, simple integrated calendars for events and HD video / audio and social media so your site is dynamic and engaging from day one. Your school website is a representation of your school to the outside world and it needs to project the right image and engage with your visitors so that they come to rely on it for high quality information at all times.
We also offer unlimited support so that if you get stuck with anything we will either teach you how to do it or quite happily make the updates on your behalf for no additional cost, for the lifetime of your site.
At Uedit we have over 10 years experience in building quality websites using the latest technology. We can build you a site for your academy which complies with the latest Ofsted requirements, while being appealing and very user friendly for your audience. You will have complete control over the site it will never go out of date.
We are based in the Kendal area of the South Lakes and build websites for schools and companies based anywhere in the UK offering full telephone and email support 365 days a year.


text:
Q: Code for testing of data in a neural network after the training is complete I have modified a code found online for my use. The training of neural network is complete. But I am not sure how to go about with the testing of the data-set. My data-set consists of 350 entries, of which half I want to use for training and the other half for testing. Can anyone help me with how the code will look like in the testing module?
The structure of neural network :
It has 3 hidden layers
It has 34 columns
Thank you
This is my working code used in training:
import numpy as np
import csv

X = X = np.array([[float(cell) for cell in row[:-1]] for row in      csv.reader(open('C:/Users/Acer/Desktop/final sem/Project/Implementation/nn.csv'))])

Y = np.array([float(row[-1]) for row in   csv.reader(open('C:/Users/Acer/Desktop/final sem/Project/Implementation/nn.csv'))])

syn0 = 2*np.random.random((34,26)) - 1

syn1 = 2*np.random.random((26,18)) - 1

syn2 = 2*np.random.random((18,11)) - 1

syn3 = 2*np.random.random((11,6)) - 1

for j in xrange(350):

  l1 = 1/(1+np.exp(-(np.dot(X,syn0))))
  l2 = 1/(1+np.exp(-(l1.dot(syn1))))
  l3 = 1/(1+np.exp(-(l2.dot(syn2))))
  l4 = 1/(1+np.exp(-(l3.dot(syn3))))

  l4_delta = (Y[j] - l4)*(l4*(1-l4))
  l3_delta = l4_delta.dot(syn3.T) * (l3 * (1-l3))
  l2_delta = l3_delta.dot(syn2.T) * (l2 * (1-l2))
  l1_delta = l2_delta.dot(syn1.T) * (l1 * (1-l1))

  syn3 += np.dot(l3.transpose(),l4_delta)
  syn2 += np.dot(l2.transpose(),l3_delta)
  syn1 += np.dot(l1.transpose(),l2_delta)
  syn0 += X.T.dot(l1_delta)

A: As I understood it, you want to use a neural network for classification of your data-set's entries.
So after training, your network might be able to group those entries in 6 different classes, since your last layer has 6 neurons.
Here's what I would to:

*

*Take one of the entries of the data-set

*Use the entry to calculate the network's output, i.e., use the same update of the for loop up until the line l4 = 1/(1+np.exp(-(l3.dot(syn3)))). (After training, you do not update the synaptic weights syn0,syn1, ... anymore).

*You will get an output of 6 values in l4, that you have to interprete.

*I think the usual interpretation goes like this: let's say the 3rd value in l4 is largest, then your sample is of category 3.

*Now, most samples that are similar to the previous one, should be classified as an category 3 item as well.

*This way, your neural network should be able to recognize patterns in your samples

I hope this is somewhat helpful. This is very generalized, but so is your example, since we do not know what your data is, what it looks like, or what you are searching for in it.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Why does the MessageKit (`JSQMessagesViewController` replacement) input field disappears when VC segues from-right? I am trying to integrate MessageKit (JSQMessagesViewController replacement) into my project.
From my didSelectRowAt of messages table I segue to my ConversationVC which subclasses MessagesViewController (MessageKit requirement)
func tableView(_ tableView: UITableView, didSelectRowAt indexPath: IndexPath) {

    guard let conversationVC = storyboard?.instantiateViewController(withIdentifier: "ConversationVC") as? ConversationVC else { return }
    self.presentDetail(conversationVC)

    }//end func

This segues perfectly fine using the following custom function to present a VC:
    func presentDetail(_ viewControllerToPresent: UIViewController){
        //constant to hold animation
        let transition = CATransition()

        transition.duration =  0.20 //seconds
        transition.type = kCATransitionPush
        transition.subtype = kCATransitionFromRight
        self.view.window?.layer.add(transition, forKey: kCATransition)

        present(viewControllerToPresent, animated: false, completion: nil)

    }//end func

The problem is that once ConversationVC is presented from-right, the input message field at the bottom disappears If I use a standard segue (modally) then it shows.


text:
Lewis Hamiliton Says he's Going Back to the Drawing Board, Because of Late F1………..
For Lewis Hamilton the 2021 Formula One title race has been like no other. As it enters the final decisive phase, the world champion is in position to pull off perhaps the greatest achievement of his career. His fight with Max Verstappen has been an unmissable affair, but what has caught the eye is how Hamilton has fought to drag this mighty tussle into an enthralling endgame.
Two races remain, with the first 20 yielding no clear advantage for either driver. A season that has ebbed and flowed between them, punctuated by brilliance, bad luck, conflict and drama, has seen the lead change hands five times.
With Saudi Arabia next weekend and Abu Dhabi to come seven days later, Verstappen leads by eight points: 52 remain on the table but Hamilton is on a roll and may now have the edge as he strives for a record eighth drivers' title.
Verstappen can wrap it up in Saudi Arabia. He will be champion if he wins and takes fastest lap and Hamilton finishes sixth or lower or if he wins and Hamilton finishes lower than seventh. More realistically, short of a DNF, Hamilton will almost certainly be either in front of Verstappen or close enough to force the contest to the wire.
He has not reached this point with ease. The 36-year-old has this season shown the maturity and judgment of a great champion, with the determination of a thoroughbred and a work ethic that is often overlooked.
Verstappen's Red Bull has been, on balance, the better car and that has required the Briton to deliver in every aspect of his craft. The 24-year‑old Dutchman is uncompromising. He will not back off, has the certainty, the conviction of youth and feels he has nothing to lose in this, his first title fight.
Early in the season, Hamilton chose to give Verstappen his head. At Imola and Barcelona he backed away from aggressive moves in order to avoid a potentially race-ending crash. His assessment of it was instructive and perhaps a little barbed. "I am not too big or too successful to have to back out to fight another day," he said last week. "I know that is sometimes the route you have to take. You have to be the smarter one."
Hamilton, though, has adapted as the season progressed. With Verstappen scoring heavily in the first half, the world champion realised he could no longer simply play the percentages. "There has been a need to gain points and you have to get a little bit less willing to give up too much," he said.
Hamilton accepted he must match the unyielding Verstappen and at Silverstone and Monza the pair clashed on the track. Hamilton was adjudged at fault in Britain and Verstappen in Italy. But, crucially, Hamilton had made his point: Verstappen could not expect him to give way. Now Verstappen had to consider the percentages, too, in the knowledge that his opponent was unafraid to back down. There would be no psychological advantage.
Much of this opening half of the season also took a physical toll. Hamilton revealed in Hungary, after a monumental race where he came from last place to claim second, that he was still feeling the effects of long Covid. Having contracted the virus toward the end of the 2020 season, he suffered from fatigue and dizziness. It was unheard of for a driver still dedicated to staying in top physical form and Hamilton confirmed he had been battling ill-health all year.
"The first half of the season was one of the toughest that I've had," he said, before confirming the underlying symptoms have now passed. "I feel better than I've felt in a long time. So somehow I've managed to push through it."
In other seasons Hamilton enjoyed such superiority that he could have battled through and shrugged off such an impediment, but this year the margins are so fine it must have played a part.
Yet it paled in comparison to the single challenge that has defined the season and its climax. Hamilton believes the new rules were meant to hold back the all-conquering Mercedes. Aerodynamic changes, ostensibly to slow the cars down, affected downforce more on cars with a low rake (the angle from rear to front) such as the Mercedes than on the high-rake Red Bulls.
Since testing Mercedes have called their car a "diva": hard to set up, sometimes presenting a mystery as to why it would perform on certain tracks and not others, its sweet spot often infuriatingly elusive. Hamilton was left having to wrestle a recalcitrant beast. So he went back with the team and they applied themselves to solving the issues with ceaseless dedication. On every tiny detail Hamilton has worked with his engineers to find the solutions.
"Those are things that I've been applying more energy towards and being a lot harder with the team on," he said. "Because we need every millisecond we can get, particularly at the places where we have been really quite a bit down. Just going into more detail everywhere."
In Brazil they found it. Finally able to fully exploit the upgrades they had fitted at Silverstone, the car was exactly where Hamilton wanted it and he flew from 10th place – the result of penalties – to the win. A week later in Qatar it was once more on song, vindication of that relentless pursuit of improvement.
Admittedly Hamilton has a fresher engine than Verstappen and Red Bull still argue the rear wing Mercedes will probably use in Saudi Arabia is illegal and will protest.
It is impossible not to sense that Hamilton has timed his run to perfection. He is in peak form physically, utterly calm at this tensest of times, having brushed off any psychological challenge Verstappen presented, and his car may yet prove to be the diva that provides the final, triumphant bow in this drama. Whichever way it goes, this will be a performance not to be missed.
Updated: Lewis Hamilton net worth 2021: Who is the highest-paid F1 driver?
Leylah Fernandez: Fans chanting my name at Indian Wells Masters felt surreal


2010 NBA Draft – draft NBA w 2010 roku odbył się 24 czerwca w hali Madison Square Garden. Draft był emitowany przez amerykańską telewizję ESPN.
1 John Wall (PG) USA Washington Wizards University of Kentucky Fr.
2 Evan Turner (SG) USA Philadelphia 76ers Ohio State University Jr.
3 Derrick Favors (PF) USA New Jersey Nets Georgia Institute of Technology Fr.
4 Wesley Johnson (SG) USA Minnesota Timberwolves Syracuse University Jr.
5 DeMarcus Cousins (C) USA Sacramento Kings University of Kentucky Fr.
6 Ekpe Udoh (PF) USA Golden State Warriors Baylor University Jr.
7 Greg Monroe (PF/C) USA Detroit Pistons Georgetown University So.
8 Al-Farouq Aminu (SF) USA Los Angeles Clippers Wake Forest University So.
9 Gordon Hayward (SG/SF) USA Utah Jazz (z New York Knicks via Phoenix Suns) Butler University So.
10 Paul George (SF) USA Indiana Pacers California State University So.
11 Cole Aldrich (PF/C) USA New Orleans Hornets (do Oklahoma City Thunder) University of Kansas Jr.
12 Xavier Henry (SG/SF) USA Memphis Grizzlies University of Kansas Fr.
13 Ed Davis (PF) USA Toronto Raptors University of North Carolina at Chapel Hill So.
14 Patrick Patterson (PF) USA Houston Rockets University of Kentucky Jr.
15 Larry Sanders (PF) USA Milwaukee Bucks (z Chicago Bulls) Virginia Commonwealth University Jr.
16 Luke Babbitt (SF/PF) USA Minnesota Timberwolves (z Charlotte Hornets via Denver Nuggets do Portland Trail Blazers) University of Nevada So.
18 Eric Bledsoe (PG/SG) USA Oklahoma City Thunder (z Miami Heat do Los Angeles Clippers) University of Kentucky Fr.
19 Avery Bradley (PG/SG) USA Boston Celtics The University of Texas at Austin Fr.
20 James Anderson (SG) USA San Antonio Spurs Oklahoma State University Jr.
21 Craig Brackins (PF) USA Oklahoma City Thunder (do New Orleans Hornets) Iowa State University Jr.
22 Elliot Williams (SG/SF) USA Portland Trail Blazers University of Memphis So.
23 Trevor Booker (PF) USA Minnesota Timberwolves (z Utah Jazz via Philadelphia 76ers do Washington Wizards) Clemson University Sr.
24 Damion James (PF) USA Atlanta Hawks (do New Jersey Nets) The University of Texas at Austin Sr.
25 Dominique Jones (SG) USA Memphis Grizzlies (z Denver Nuggets do Dallas Mavericks) University of South Florida Jr.
26 Quincy Pondexter (SF/PF) USA Oklahoma City Thunder (z Phoenix Suns do New Orleans Hornets) University of Washington Sr.
27 Jordan Crawford (SG) USA New Jersey Nets (z Dallas Mavericks do Atlanta Hawks) Xavier University So.
28 Greivis Vásquez (PG) Wenezuela Memphis Grizzlies (z Los Angeles Lakers) University of Maryland Sr.
29 Daniel Orton (C) USA Orlando Magic University of Kentucky Fr.
30 Lazar Hayward (SF) USA Washington Wizards (z Cleveland Cavaliers do Minnesota Timberwolves) Marquette University Sr.
32 Dexter Pittman (C) USA Miami Heat (z Minnesota Timberwolves via Oklahoma City Thunder) The University of Texas at Austin Sr.
33 Hassan Whiteside (C) USA Sacramento Kings Marshall University Fr.
34 Armon Johnson (PG) USA Portland Trail Blazers (z Golden State Warriors) University of Nevada Jr.
36 Terrico White (SG) USA Detroit Pistons University of Mississippi So.
37 Darington Hobson (SF/PF) USA Milwaukee Bucks (z Philadelphia 76ers) University of New Mexico Jr.
38 Andy Rautins (SG) Kanada New York Knicks Syracuse University Sr.
39 Landry Fields (SG/SF) USA New York Knicks (z Los Angeles Clippers via Denver Nuggets) Stanford University Sr.
40 Lance Stephenson (SG) USA Indiana Pacers University of Cincinnati Fr.
41 Jarvis Varnado (PF) USA Miami Heat (z New Orleans Hornets) Mississippi State University Sr.
42 Da'Sean Butler (SG/SF) USA Miami Heat (z Toronto Raptors West Virginia University Sr.
43 Devin Ebanks (SF/PF) USA Los Angeles Lakers (z Memphis Grizzlies) West Virginia University So.
44 Jerome Jordan (C) Jamajka Milwaukee Bucks (z Chicago Bulls via Portland Trail Blazers i Golden State Warriors) University of Tulsa Jr.
46 Gani Lawal (PF) USA Phoenix Suns (z Charlotte Hornets) Georgia Institute of Technology Jr.
47 Tiny Gallon (SF/PF) USA Milwaukee Bucks University of Oklahoma Fr.
50 Solomon Alabi (C) Nigeria Dallas Mavericks (z Oklahoma City Thunder do Toronto Raptors) Florida State University So.
51 Magnum Rolle (C) Bahamy Oklahoma City Thunder (z Portland Trail Blazers via Dallas Mavericks i Minnesota Timberwolves do Indiana Pacers) Louisiana Tech University Sr.
52 Luke Harangody (PF) USA Boston Celtics University of Notre Dame Sr.
54 Willie Warren (PG) USA Los Angeles Clippers (z Denver Nuggets) University of Oklahoma So.
55 Jeremy Evans (SF) USA Utah Jazz Western Kentucky University Sr.
56 Hamady N'Diaye (C) Senegal Minnesota Timberwolves (z Phoenix Suns do Washington Wizards) Rutgers University Sr.
57 Ryan Reid (PF) USA Indiana Pacers (z Dallas Mavericks do Oklahoma City Thunder) Florida State University Jr.
58 Derrick Caracter (PF) USA Los Angeles Lakers University of Texas at El Paso Jr.
59 Stanley Robinson (SF) USA Orlando Magic University of Connecticut Sr.
60 Dwayne Collins (PF) USA Phoenix Suns (z Cleveland Cavaliers) University of Miami Sr.
2010 NBA Draft (ang.). NBA.com. [dostęp 2014-05-09].
2010 NBA Draft Results Round 1 (ang.). ESPN.go.com. [dostęp 2014-05-09].
2010 NBA Draft Results Round 2 (ang.). ESPN.go.com. [dostęp 2014-05-09].


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