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Q: Python decorator best practice, using a class vs a function As I've understood it there are two ways to do a Python decorator, to either use the __call__ of a class or to define and call a function as the decorator. What's the advantages/disadvantages of these methods? Is there one preferred method?
Example 1
class dec1(object):
    def __init__(self, f):
        self.f = f
    def __call__(self):
        print "Decorating", self.f.__name__
        self.f()

@dec1
def func1():
    print "inside func1()"

func1()

# Decorating func1
# inside func1()

Example 2
def dec2(f):
    def new_f():
        print "Decorating", f.__name__
        f()
    return new_f

@dec2
def func2():
    print "inside func2()"

func2()

# Decorating func2
# inside func2()

A: It is rather subjective to say whether there are "advantages" to each method.
However, a good understanding of what goes under the hood would make it natural
for one to pick the best choice for each occasion.
A decorator (talking about function decorators), is simply a callable object that takes a function as its input parameter. Python has its rather interesting design that allows
one to create other kinds of callable objects, besides functions - and one can put that to use
to create more maintainable or shorter code on occasion.
Decorators were added back in Python 2.3 as a "syntactic shortcut" for
def a(x):
   ...

a = my_decorator(a)

Besides that, we usually call decorators some "callables" that would rather be "decorator factories" - when we use this kind:
@my_decorator(param1, param2)
def my_func(...):
   ...

the call is made to "my_decorator" with param1 and param2 - it then returns an object that will be called again, this time having "my_func" as a parameter. So, in this case, technically the "decorator" is whatever is returned by the "my_decorator", making it a
"decorator factory".
Now, either decorators or "decorator factories" as described usually have to keep some internal state. In the first case, the only thing it does keep is a reference to the original function (the variable called f in your examples). A "decorator factory" may want to register extra state variables ("param1" and "param2" in the example above).
This extra state, in the case of decorators written as functions is kept in variables within the enclosing functions, and accessed as "nonlocal" variables by the actual wrapper function. If one writes a proper class, they can be kept as instance variables in the decorator function (which will be seen as a "callable object", not a "function") - and access to them is more explicit and more readable.
So, for most cases it is a matter of readability whether you will prefer one approach or the other:
for short, simple decorators, the functional approach is often more readable than one written as a class - while sometimes a more elaborate one - especially one "decorator factory" will take full advantage of the "flat is better than nested" advice fore Python coding.
Consider:
def my_dec_factory(param1, param2):
   ...
   ...
   def real_decorator(func):
       ...
       def wraper_func(*args, **kwargs):
           ...
           #use param1
           result = func(*args, **kwargs)
           #use param2
           return result
       return wraper_func
   return real_decorator

against this "hybrid" solution:
class MyDecorator(object):
    """Decorator example mixing class and function definitions."""
    def __init__(self, func, param1, param2):
        self.func = func
        self.param1, self.param2 = param1, param2

    def __call__(self, *args, **kwargs):
        ...
        #use self.param1
        result = self.func(*args, **kwargs)
        #use self.param2
        return result

def my_dec_factory(param1, param2):
    def decorator(func):
         return MyDecorator(func, param1, param2)
    return decorator

update: Missing "pure class" forms of decorators
Now, note the "hybrid" method takes the "best of both Worlds" trying to keep the shortest and more readable code. A full "decorator factory" defined exclusively with classes would either need two classes, or a "mode" attribute to know if it was called to register the decorated function or to actually call the final function:
class MyDecorator(object):
   """Decorator example defined entirely as class."""
   def __init__(self, p1, p2):
        self.p1 = p1
        ...
        self.mode = "decorating"

   def __call__(self, *args, **kw):
        if self.mode == "decorating":
             self.func = args[0]
             self.mode = "calling"
             return self
         # code to run prior to function call
         result = self.func(*args, **kw)
         # code to run after function call
         return result

@MyDecorator(p1, ...)
def myfunc():
    ...

And finally a pure, "white colar" decorator defined with two classes - maybe keeping things more separated, but increasing the redundancy to a point one can't say it is more maintainable:
class Stage2Decorator(object):
    def __init__(self, func, p1, p2, ...):
         self.func = func
         self.p1 = p1
         ...
    def __call__(self, *args, **kw):
         # code to run prior to function call
         ...
         result = self.func(*args, **kw)
         # code to run after function call
         ...
         return result

class Stage1Decorator(object):
   """Decorator example defined as two classes.

   No "hacks" on the object model, most bureacratic.
   """
   def __init__(self, p1, p2):
        self.p1 = p1
        ...
        self.mode = "decorating"

   def __call__(self, func):
       return Stage2Decorator(func, self.p1, self.p2, ...)

@Stage1Decorator(p1, p2, ...)
def myfunc():
    ...

2018 update
I wrote the text above a couple years ago. I came up recently with a pattern I prefer due to creating code that is "flatter".
The basic idea is to use a function, but return a partial object of itself if it is called with parameters before being used as a decorator:
from functools import wraps, partial

def decorator(func=None, parameter1=None, parameter2=None, ...):

   if not func:
        # The only drawback is that for functions there is no thing
        # like "self" - we have to rely on the decorator
        # function name on the module namespace
        return partial(decorator, parameter1=parameter1, parameter2=parameter2)
   @wraps(func)
   def wrapper(*args, **kwargs):
        # Decorator code-  parameter1, etc... can be used
        # freely here
        return func(*args, **kwargs)
   return wrapper

And that is it - decorators written using this pattern can decorate
a function right away without being "called" first:
@decorator
def my_func():
    pass

Or customized with parameters:
@decorator(parameter1="example.com", ...):
def my_func():
    pass

2019 - With Python 3.8 and positional only parameters this last pattern will become even better, as the func argument can be declared as positional only, and require the parameters to be named;
def decorator(func=None, /, *, parameter1=None, parameter2=None, ...):

A: I will dare to offer a different approach to the problem almost seven years after the question was originally made. This version is not described in any of the previous (very nice!) answers.
The biggest differences between using classes and functions as decorators are already very well described here. For the sake of completeness I'll go briefly  through this again, but to be more practical, I'm going to use a concrete example.
Let's say you want to write a decorator to cache the result of "pure" functions (those free of side effects, so the return value is deterministic, given the arguments) in some cache service.
Here are two equivalent and very simple decorators for doing this, in both flavors (functional and object oriented):
import json
import your_cache_service as cache

def cache_func(f):
    def wrapper(*args, **kwargs):
        key = json.dumps([f.__name__, args, kwargs])
        cached_value = cache.get(key)
        if cached_value is not None:
            print('cache HIT')
            return cached_value
        print('cache MISS')
        value = f(*args, **kwargs)
        cache.set(key, value)
        return value
    return wrapper

class CacheClass(object):
    def __init__(self, f):
        self.orig_func = f

    def __call__(self, *args, **kwargs):
        key = json.dumps([self.orig_func.__name__, args, kwargs])
        cached_value = cache.get(key)
        if cached_value is not None:
            print('cache HIT')
            return cached_value
        print('cache MISS')
        value = self.orig_func(*args, **kwargs)
        cache.set(key, value)
        return value

I guess this is fairly easy to understand. It's just a silly example! I'm skipping all error handling and edge cases for simplicity. You should not ctrl+c/ctrl+v code from StackOverflow anyways, right? ;)
As one can notice, both versions are essentially the same. The object oriented version is a bit longer and more verbose than the functional one, because we have to define methods and use the variable self, but I would argue it is slightly more readable. This factor becomes really important for more complex decorators. We'll see that in a moment.
The decorators above are used like this:
@cache_func
def test_one(a, b=0, c=1):
    return (a + b)*c

# Behind the scenes:
#     test_one = cache_func(test_one)

print(test_one(3, 4, 6))
print(test_one(3, 4, 6))

# Prints:
#     cache MISS
#     42
#     cache HIT
#     42

@CacheClass
def test_two(x, y=0, z=1):
    return (x + y)*z

# Behind the scenes:
#     test_two = CacheClass(test_two)

print(test_two(1, 1, 569))
print(test_two(1, 1, 569))

# Prints:
#     cache MISS
#     1138
#     cache HIT
#     1138

But let's say now that your cache service supports setting the TTL for each cache entry. You would need to defined that on decoration time. How to do it?
The traditional functional approach would be to add a new wrapper layer that returns a configured decorator (there are nicer suggestions in the other answers to this question):
import json
import your_cache_service as cache

def cache_func_with_options(ttl=None):
    def configured_decorator(*args, **kwargs):
        def wrapper(*args, **kwargs):
            key = json.dumps([f.__name__, args, kwargs])
            cached_value = cache.get(key)
            if cached_value is not None:
                print('cache HIT')
                return cached_value
            print('cache MISS')
            value = f(*args, **kwargs)
            cache.set(key, value, ttl=ttl)
            return value
        return wrapper
    return configured_decorator

It is used like this:
from time import sleep

@cache_func_with_options(ttl=100)
def test_three(a, b=0, c=1):
    return hex((a + b)*c)

# Behind the scenes:
#     test_three = cache_func_with_options(ttl=100)(test_three)

print(test_three(8731))
print(test_three(8731))
sleep(0.2)
print(test_three(8731))

# Prints:
#     cache MISS
#     0x221b
#     cache HIT
#     0x221b
#     cache MISS
#     0x221b

This one is still okay, but I have to admit that, even being an experienced developer, sometimes I see myself taking a good amount of time to understand more complex decorators that follow this pattern. The tricky part here is that is really not possible to "un-nest" the functions, as the inner functions need the variables defined in the scope of the outer ones.
Can the object oriented version help? I think so, but if you follow the previous structure for the class-based one, it would end up with the same nested structure as the functional one or, even worse, using flags to hold the state of what the decorator is doing (not nice).
So, instead of receiving the function to be decorated in the __init__ method and handling the wrapping and decorator parameters in the __call__ method (or using multiple classes/functions to do so, which is too complex to my taste), my suggestion is to handle the decorator parameters in the __init__ method, receive the function in the __call__ method and finally handle the wrapping in an additional method that is returned by the end of the __call__.
It looks like this:
import json
import your_cache_service as cache

class CacheClassWithOptions(object):
    def __init__(self, ttl=None):
        self.ttl = ttl

    def __call__(self, f):
        self.orig_func = f
        return self.wrapper

    def wrapper(self, *args, **kwargs):
        key = json.dumps([self.orig_func.__name__, args, kwargs])
        cached_value = cache.get(key)
        if cached_value is not None:
            print('cache HIT')
            return cached_value
        print('cache MISS')
        value = self.orig_func(*args, **kwargs)
        cache.set(key, value, ttl=self.ttl)
        return value

The usage is as expected:
from time import sleep

@CacheClassWithOptions(ttl=100)
def test_four(x, y=0, z=1):
    return (x + y)*z

# Behind the scenes:
#     test_four = CacheClassWithOptions(ttl=100)(test_four)

print(test_four(21, 42, 27))
print(test_four(21, 42, 27))
sleep(0.2)
print(test_four(21, 42, 27))

# Prints:
#     cache MISS
#     1701
#     cache HIT
#     1701
#     cache MISS
#     1701

As anything is perfect, there are two small drawbacks with this last approach:

*

*It's not possible to decorate using @CacheClassWithOptions directly. We have to use parenthesis @CacheClassWithOptions(), even if we don't want to pass any parameter. This is because we need to create the instance first, before trying to decorate, so the __call__ method will receive the function to be decorated, not in the __init__. It is possible to work around this limitation, but it's very hacky. Better to simply accept that those parenthesis are needed.

*There's no obvious place to apply the functools.wraps decorator on the returned wrapped function, what would be a no-brainer in the functional version. It can easily be done, though, by creating an intermediary function inside __call__ before returning. It just doesn't look that nice and it's better to leave that out if you don't need the nice things that functools.wraps does.

A: There are two different decorator implementations. One of these uses a class as a decorator and the other uses a function as a decorator. You must choose the preferred implementation for your needs.
For example, if your decorator does a lot of work then you can use class as a decorator, like this:
import logging
import time
import pymongo
import hashlib
import random

DEBUG_MODE = True

class logger(object):

        def __new__(cls, *args, **kwargs):
                if DEBUG_MODE:
                        return object.__new__(cls, *args, **kwargs)
                else:
                        return args[0]

        def __init__(self, foo):
                self.foo = foo
                logging.basicConfig(filename='exceptions.log', format='%(levelname)s %   (asctime)s: %(message)s')
                self.log = logging.getLogger(__name__)

        def __call__(self, *args, **kwargs):
                def _log():
                        try:
                               t = time.time()
                               func_hash = self._make_hash(t)
                               col = self._make_db_connection()
                               log_record = {'func_name':self.foo.__name__, 'start_time':t, 'func_hash':func_hash}
                               col.insert(log_record)
                               res = self.foo(*args, **kwargs)
                               log_record = {'func_name':self.foo.__name__, 'exc_time':round(time.time() - t,4), 'end_time':time.time(),'func_hash':func_hash}
                               col.insert(log_record)
                               return res
                        except Exception as e:
                               self.log.error(e)
                return _log()

        def _make_db_connection(self):
                connection = pymongo.Connection()
                db = connection.logger
                collection = db.log
                return collection

        def _make_hash(self, t):
                m = hashlib.md5()
                m.update(str(t)+str(random.randrange(1,10)))
                return m.hexdigest()

A: I mostly agree with jsbueno: there's no one right way. It depends on the situation. But I think def is probably better in most cases, because if you go with class, most of the "real" work is going to be done in __call__ anyway. Also, callables that are not functions are pretty rare (with the notable exception of instantiating a class), and people generally do not expect that. Also, local variables are usually easier for people to keep track of vs. instance variables, simply because they have more limited scope, although in this case, the instance variables are probably only used in __call__ (with __init__ simply copying them from arguments).
I have to disagree with his hybrid approach though. It's an interesting design, but I think it's probably going to confuse the crap out of you or someone else who looks at it a few months later.
Tangent: Regardless of whether you go with class or function, you should use functools.wraps, which itself is meant to be used as a decorator (we must go deeper!) like so:
import functools

def require_authorization(f):
    @functools.wraps(f)
    def decorated(user, *args, **kwargs):
        if not is_authorized(user):
            raise UserIsNotAuthorized
        return f(user, *args, **kwargs)
    return decorated

@require_authorization
def check_email(user, etc):
    # etc.

This makes decorated look like check_email e.g. by changing it's func_name attribute.
Anyway, this is usually what I do and what I see other people around me doing, unless I want a decorator factory. In that case, I just add another level of def:
def require_authorization(action):
    def decorate(f):
        @functools.wraps(f):
        def decorated(user, *args, **kwargs):
            if not is_allowed_to(user, action):
                raise UserIsNotAuthorized(action, user)
            return f(user, *args, **kwargs)
        return decorated
    return decorate

By the way, I would also be on guard against excessive use of decorators, because they can make it really hard to follow stack traces.
One approach for managing hideous stack traces is to have a policy of not substantially changing the behavior of the decoratee. E.g.
def log_call(f):
    @functools.wraps(f)
    def decorated(*args, **kwargs):
        logging.debug('call being made: %s(*%r, **%r)',
                      f.func_name, args, kwargs)
        return f(*args, **kwargs)
    return decorated

A more extreme approach for keeping your stack traces sane is for the decorator to return the decoratee unmodified, like so:
import threading

DEPRECATED_LOCK = threading.Lock()
DEPRECATED = set()

def deprecated(f):
    with DEPRECATED_LOCK:
        DEPRECATED.add(f)
    return f

@deprecated
def old_hack():
    # etc.

This is useful if the function is called within a framework that knows about the deprecated decorator. E.g.
class MyLamerFramework(object):
    def register_handler(self, maybe_deprecated):
        if not self.allow_deprecated and is_deprecated(f):
            raise ValueError(
                'Attempted to register deprecated function %s as a handler.'
                % f.func_name)
        self._handlers.add(maybe_deprecated)


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Les Synotaxidae sont une famille d'araignées aranéomorphes.

Distribution

Les espèces de cette famille se rencontrent en Amérique et en Asie.

Description

Paléontologie
Cette famille est connue depuis le Paléogène.

Liste des genres
Selon  :
 Gaucelmus Keyserling, 1884
 Hamus Ballarin & Li, 2015
 Nescina Ballarin & Li, 2015
 Synotaxus Simon, 1895
 Tekellina Levi, 1957

Selon World Spider Catalog (version 20.5, 2020) :
  Acrometa Petrunkevitch, 1942
  Anandrus Menge, 1856
  Chelicerinus Wunderlich, 2008
  Cornuanandrus Wunderlich, 1986
  Dubiosynotaxus Wunderlich, 2004
  Eosynotaxus Wunderlich, 2004
  Gibbersynotaxus Wunderlich, 2004
  Protophysoglenes Wunderlich, 2004
  Pseudoacrometa Wunderlich, 1986
  Succinitaxus Wunderlich, 2004
  Sulcosynotaxus Wunderlich, 2004

Systématique et taxinomie
Cette famille a été décrite par Simon en 1894 comme une tribus des Theridiidae. Elle est élevée au rang de famille par Forster, Platnick et Coddington en 1990.

Les Physogleninae ont été élevées au rang de famille, avec les Pahorinae comme sous-famille, par Dimitrov, Benavides Silva, Arnedo, Giribet, Griswold, Scharff et Hormiga en 2017.

Cette famille rassemble 34 espèces dans cinq genre actuel.

Publication originale
 Simon, 1894 : Histoire naturelle des araignées. Paris, ,  (texte intégral).

Liens externes

Notes et références

Synotaxidae
Famille d'araignées (nom scientifique)

redpajama_set_name: RedPajamaWikipedia


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Home ► Defense ► Finance and economy ► Latest news ► Military aviation ► Report ► Science and technology
US will sell aircraft parts to Taiwan
State Department approved shipment of F-16 components
The US State Department has approved the sale of parts for General Dynamics F-16 Fighting Falcon aircraft to the Taiwan Air Force. The value of the deal is 428 million dollars. This is a move that aims to help the armed forces in the defense operations of the island, severely tested by the repeated violations of the air and sea space by Chinese planes and ships.
"The possible sale will help bolster Taipei's air fleet, enhancing its ability to cope with current and future threats, while providing transportation and defensive capabilities critical to regional security", the Pentagon said in a statement.
This "will help maintain adequate equipment -continues the Pentagon- and the supply of fighter planes by our air force, to meet the needs of defense and combat training, as well as to ensure that our traditional military power fight does not decrease". "Taiwan will continue to steadfastly demonstrate its ability to defend its sovereignty and protect national security".
Taipei, Taiwan, 12/07/2022 11:18
DefenseFinance and economyLatest newsMilitary aviationReportScience and technology


You'll never look at a rotted tree the same way again.
As the days get warmer, we find ourselves spending more and more time on Pinterest, perusing all the outdoor-slash-backyard ideas we can't wait to try come spring. While there's the usual assortment of landscaping ideas, there's one new concept that has caught our eye: tree stump art.
It looks exactly as it sounds. Rather than getting rid of tree stumps occupying their yards, homeowners are choosing to see them for their artistic potential and "upcycle" them into something beautiful.
Last year, author and blogger Gail Wilson took this idea and ran with it, turning the stump of a dead tree in her backyard into a planter for succulents. "The question was," she wrote,"how do I hold the dirt in the rotted tree trunk pieces?"


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Yedi Uyurlar Mağarası (Cave of the Seven Sleepers)
Acarlar Köyü, Turkey
Seven early Christians were sealed into a cave where legend has it they slept unharmed for centuries.
Ephesus' Cave of the Seven Sleepers. Klaus-Peter Simon/CC BY 3.0
A Russian icon portraying the Seven Sleepers. Anonimous/Public Domain
Inside the Church on the Cave of the Seven Sleepers. Klaus-Peter Simon/CC BY 3.0
The Cave of the Seven Sleepers Sailko/CC BY-SA 3.0
The Cave of the Seven Sleepers. Sailko/CC BY-SA 3.0
Cave of the Seven Sleepers. Sailko/CC BY-SA 3.0
The Seven Sleepers being walled in, from a medieval manuscript. Polylerus/Public Domain
Top Places in Turkey
Suluklugol
Akyazı, Turkey
Aksaray, Turkey
Obelisk of Theodosius
What started as a political protest against Roman paganism became the stuff of religious legend.
In January of 250, the Roman Emperor Decius issued an edict that everyone under his reign must perform a sacrifice dedicating themselves to the empire and to the Roman gods. Understandably, this caused an uproar among young Christian communities, who, though persecuted, had previously been free to worship. Refusal to submit came at the price of death. All the same, many Christians refused to deny their faiths.
Seven young men in Ephesus refused to make the sacrifice and hid in a cave on the outskirts of the city. Tired from fleeing, they fell asleep. The Roman sentries came upon the Seven slumbering peacefully in the cave. Rather than killing them outright, they sealed them in, perhaps in a mockery of Christians' reverence for Jesus' entombment. That was the last their families and friends ever heard of them.
Sometime much later, the myth continues, the farmer who owned the land thought to open the cave, perhaps to use as an animal pen. He was shocked to find seven young men inside, still asleep. When the light hit their faces, they awoke. Feeling hungry, they pooled their money and sent one of them to the village to buy food. They warned him to watch out for Romans, but, believing they had slept for a full day, they thought the coast was clear. When the young man reached the market and tried to buy bread, vendors were dismayed to see that he carried Decian coins—which were at least 150 years old by then. The bishop was called in (in the century they slept Christianity had resurfaced full force) to interview the Seven Sleepers, and they all died peacefully just a few hours after.
The cave outside Ephesus was excavated in the 1920s, revealing a number of 5th and 6th century Christian graves. An ancient Church sits atop the cave as well. Religious pilgrims still pay visits to the holy Cave of the Seven Sleepers.
The details of the myth are hotly disputed among the various cultures that tell it. Christians believe that the Seven slept for between 128 and 200 years, but the Qur'an states that they slept for around 300 years. Even the location is unclear. Though this cave in Ephesus is the most commonly visited by religious pilgrims, caves in Jordan, China, Tunisia, and Algeria lay claim to the myth of the Seven Sleepers.
Whatever the truth of story is, its lore has seeped into common culture. For example, in Danish, Norwegian, and Swedish, a sysover ("seven-sleeper") is someone who slumbers long and hard. Seven Sleepers Day is June 27th, and is the German equivalent of American Groundhog Day.
Istanbul: Exploring the Tastes of Two Continents
On this week-long culinary experience in collaboration with Culinary Backstreets, we'll be studying the city of Istanbul through its kitchens—investigating the disparate influences that form the great mosaic that is modern-day Istanbul cuisine.
biblical islam christianity caves ancient religion ecosystems sacred spaces history
https://en.wikipedia.org/wiki/Decius
https://en.wikipedia.org/wiki/Seven_Sleepers
https://en.wikipedia.org/wiki/Seven_Sleepers%27_Day
http://www.sacred-destinations.com/turkey/ephesus-cave-of-the-seven-sleepers
Yedi Uyurlar Mağarası
Acarlar Köyü
The Brothel Advertisement at Ephesus
Basilica of St. John
The Public Toilets of Ephesus
Carvings in Turkey's Marble Road may have directed ancient Romans to a hidden brothel.
Selçuk, Turkey
This crumbling medieval basilica once attracted pilgrims by the thousands to collect a miraculous dust that formed above the saint's tomb.
The ancient latrines of the Greeks, in all their public glory.
Sultaniye Köyü, Turkey
House of the Virgin Mary
The alleged house of the Virgin Mary is tucked away in a park and nature preserve on Mt. Koressos in Turkey and is holy to both Catholics and Muslims alike.
The Grotto Church of Saint Michael
A spiritual sanctuary in a natural cave.
Wilderness, South Africa
Kaaimans Grotto
This cave overlooking the Indian Ocean has been turned into a shelter and makeshift museum.
Hermit's Cave and Quaker Burial Ground
A medieval cave used to shelter local hermits now holds nearly 200 old Quaker gravestones.
Dale Abbey, England
Hermits Cave at Dale Abbey
Inspired by a dream, a hermit carved out a home in this sandstone bank to live a life of contemplation and prayer.


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Crews respond to 2-alarm fire on Carolina Road in Suffolk
Crews at the scene of a 2-alarm residential fire on Carolina Road in Suffolk
About 2,400 Virginia National Guard airmen, soldiers ready to support the inauguration
About 2,400 personnel are at the U.S. Capitol assisting local law enforcement as they prepare for protesters to gather leading up to inauguration day.
Credit: Photo by Staff Sgt. Bryan Myhr
Virginia National Guard Airmen assigned to the 192nd Security Forces Squadron, 192nd Mission Support Group, 192nd Wing stand guard on the grounds of the U.S. Capitol, Jan. 13, 2021, in Washington, D.C. National Guard Soldiers and Airmen from several states have traveled to Washington to provide support to federal and district authorities leading up to the 59th Presidential Inauguration.
Author: 13News Now Staff
WASHINGTON D.C., DC — Soldiers and airmen from the Virginia National Guard have their boots on the ground in Washington, D.C., and are ready to help support the 59th Presidential Inauguration on Jan. 20.
About 2,400 personnel are near and at the U.S. Capitol assisting local law enforcement as they prepare for protesters to gather leading up to inauguration day.
On Jan. 6, Gov. Ralph Northam said he was sending 200 state troopers and members of the state National Guard to the U.S. Capitol.
The announcement came amid violence by a pro-Trump mob that caused the Capitol Building to go under a lockdown and lawmakers to take shelter.
Secretary of the Army Ryan D. McCarthy has authorized up to 21,000 National Guard personnel to support the 59th Presidential Inauguration, according to a news release.
DOJ: 2 off-duty Virginia police officers charged federally in storming US Capitol
Feds: Man photographed carrying Confederate flag during Capitol riots arrested
FBI Norfolk 'identifying, investigating and disrupting' violence planned for Biden inauguration
Virginia Employment Commission top official removed from the job


! Follow the instructions in this manual about the proper operation of your vehicle as well as about possible vehicle damage.
Damage to your vehicle that arises from culpable contraventions against these instructions is not covered either by the Mercedes-Benz Limited Warranty or by the New or Used-Vehicle Warranty.


text:
Rumsey steht für:

 (4154) Rumsey, ein Hauptgürtelasteroid

Orte in den Vereinigten Staaten:
 Rumsey (Kalifornien)
 Rumsey (Kentucky)
 Rumsey (Montana)
 Rumsey (Nebraska)

Rumsey ist der Familienname folgender Personen:
 Benjamin Rumsey (1734–1808), US-amerikanischer Jurist und Politiker
 Charles Cary Rumsey (1879–1922), US-amerikanischer Bildhauer
 David Rumsey (1810–1883), US-amerikanischer Jurist und Politiker
 David Rumsey (Kartensammler) (* 1944), US-amerikanischer Kartensammler
 Edward Rumsey (1796–1868), US-amerikanischer Politiker
 Edward Rumsey (Architekt) (1824–1909), britischer Architekt
 Howard Rumsey (1917–2015), US-amerikanischer Jazzbassist und Bandleader
 James Rumsey (1743–1792), US-amerikanischer Ingenieur und Erfinder
 Julian Sidney Rumsey (1823–1886), US-amerikanischer Politiker
 Tim Rumsey (* 1977), US-amerikanischer Komponist, Musikpädagoge und Musikverleger


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", "brand": { "name": "Waldor Orchids " }, "offers": [ { "@type": "Offer", "priceCurrency": "USD", "price": "5.99", "availability": "http://schema.org/InStock", "sku": "heat pack 1", "name": "1 pk", "url": "https://www.waldor.com/products/multi-purpose-jumbo-72-hour-uniheat-heat-pack?variant=39403047428", "seller": { "@type": "Organization", "name": "Waldor Orchids " } }, { "@type": "Offer", "priceCurrency": "USD", "price": "11.98", "availability": "http://schema.org/InStock", "sku": "heat pack 2", "name": "2 pk", "url": "https://www.waldor.com/products/multi-purpose-jumbo-72-hour-uniheat-heat-pack?variant=39318493060", "seller": { "@type": "Organization", "name": "Waldor Orchids " } }, { "@type": "Offer", "priceCurrency": "USD", "price": "17.98", "availability": "http://schema.org/InStock", "sku": "heat pack 3", "name": "3 pk", "url": "https://www.waldor.com/products/multi-purpose-jumbo-72-hour-uniheat-heat-pack?variant=39402976260", "seller": { "@type": "Organization", "name": "Waldor Orchids " } }, { "@type": "Offer", "priceCurrency": "USD", "price": "20.98", "availability": "http://schema.org/InStock", "sku": "heat pack 5", "name": "5 pk", "url": "https://www.waldor.com/products/multi-purpose-jumbo-72-hour-uniheat-heat-pack?variant=39402976324", "seller": { "@type": "Organization", "name": "Waldor Orchids " } }, { "@type": "Offer", "priceCurrency": "USD", "price": "39.99", "availability": "http://schema.org/InStock", "sku": "heat pack 10", "name": "10 pk", "url": "https://www.waldor.com/products/multi-purpose-jumbo-72-hour-uniheat-heat-pack?variant=39402976388", "seller": { "@type": "Organization", "name": "Waldor Orchids " } } ] }
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Another learning source to create native Android and iOS mobile apps using Flutter with comprehensive step by step tutorial
Flutter is an open-source UI software development kit created by Google. It is used to develop applications for Android, iOS, Windows, Mac, Linux, Google Fuchsia and the web. Flutter apps are written in the Dart language and make use of many of the language's more advanced features. Flutter runs in the Dart virtual machine which features a just-in-time execution engine. While writing and debugging an app, Flutter uses Just In Time compilation, allowing for "hot reload", with which modifications to source files can be injected into a running application.
Flutter uses a combination of widgets and build widgets from widgets. Flutter makes use of Composition because those smaller Widgets are also made up of even smaller Widgets, and each has a build() method of its own. Flutter is Google's UI toolkit for building beautiful, natively compiled applications for mobile, web, and desktop from a single codebase.
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Tutorials of Flutter Tutorial
Flutter Tutorial: Create a Native Android and iOS Apps Quickly A comprehensive step by step Flutter tutorial to create a native Android and iOS Apps quickly from scratch


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Innovations in renewablesGuardian sustainable business
Beyond Tesla: solar-powered battery could challenge Australia's soaring electricity prices
ZCell developer says its battery for homes is more efficient and recyclable
Electricity prices in Australia are significantly higher than in other parts of the world but battery storage could change that. Photograph: Joe Castro/AAP
Annie Kane
Mon 18 Apr 2016 22.27 EDT Last modified on Wed 14 Feb 2018 13.02 EST
Australia is at the dawn of a battery storage revolution. A recent report from US-based IHS Technology states that Australia's energy storage market will grow from less than 500 battery installations in 2015 to 30,000 installations by 2018, while Morgan Stanley has found that half of all households in Australia are interested in installing solar panels with battery storage, with the market potential estimated to be $24bn.
From the lithium battery Tesla Powerwall unit to the lead acid gel battery of AllGrid Energy's GridWatt system, the Australian market seems to be welcoming one battery innovation after another.
However, one of the biggest gripes for those early adopters buying battery storage systems at the moment is the loss of efficiency of devices. For example, the Tesla Powerwall starts off with about 92% efficiency but, as the lithium cells degrade over time, these efficiencies, and its capacity, drop further.
But a new battery has come onto the Australian market that claims to not only maintain 100% of its storage capacity but also has a round trip DC-DC energy efficiency per cycle of 80% and is recyclable at its end of life. The ZCell is a zinc bromide flow battery designed by the Australian energy storage provider Redflow and is said to be the world's smallest flow battery on the market. It could also have broad reaching implications for everyone's electricity bills – if power grid operators take note.
Redflow's executive chairman, Simon Hackett, with the ZCell. Photograph: ZCell
Originally designed for the commercial, industrial and telecommunication sectors, the ZBM battery has now been repackaged as the ZCell for the residential market, allowing people to "timeshift" solar power from day to night, store off-peak power for peak demand periods and support off-grid systems. Bizarrely, Redflow thanks Tesla for ZCell's realisation.
"Energy storage is having its moment in the sun as a concept and we have Tesla to thank for that, for really lighting the battery storage fire", says Redflow's executive chairman, Simon Hackett.
Hackett says that although Tesla has been the harbinger of household battery storage in Australia, there's room for improvement.
"There are different batteries suited for different sorts of applications. While it's absolutely logical for Tesla to be packaging their lithium batteries for home use, I think lithium batteries are better suited for cars while flow batteries are better for the residential market."
Renewable energy jobs fall by 27% in four years
Redflow has designed the outdoor battery ZCell, which is about the size of a standard air conditioner unit, stores 10 kW hours (kWh) of electricity and comes with a 10-year warranty. What makes the battery really stand out, says Hackett, is that it can store as much energy at its end of life as it does at the beginning.
"Lithium battery cells get worn out when worked hard, as lithium is a sprinter of a battery. What you need for your house is a marathon runner and that's what our flow battery is. It's an industrial-strength battery built to go from completely full to dead empty every day.
"If you buy a 6.4 kWh Tesla Powerwall, you can expect it to have lost about 40% of its capacity at the end of its 10-year life. If you buy a 10 kWh ZCell, you can expect to have a 10 kWh battery in 10 years' time – there's no loss."
The first ZCells are expected to go to homes later this year (around June) and Hackett estimates that the final cost for the system, including installation, will be about $18,000.
"It's not an entry-level price," Hackett concedes. "But it's a large battery."
ZCell is also recyclable when it reaches its end of life, as the zinc bromide solution can be cleaned and put into a new battery, while the plastic casing and electrodes can be recycled into bottles.
Hackett suggests the unit would be most useful for householders using large amounts of energy – for example, those who have electric cars. Hackett himself is said to be Tesla's biggest individual customer in Australia for electric cars – and he's charging them with the ZCell battery.
However, he adds that everyone could benefit from battery storage as it could transform the way the power grid works, making it cheaper and more effective.
The case for batteries in the electricity market
Australian first: Newstead aims to run on 100% renewable energy within five years
Last year, it was found that Australians are paying significantly more than people in other parts of the world in electricity network charges. These high charges cover the cost of electricity poles and wires and make up more than half of electricity bills.
In the last five-year period (running to 2015), networks recovered $44bn from our energy bills, which was used to replace ageing infrastructure (such as power lines, like those in Kilmore East which triggered fatal bushfires in 2009) and cover the forecast increase in energy demand.
But things didn't quite go according to plan. The AER's State of the Energy Market report 2015 revealed that, for the first time in Australian history, "demand for electricity declined or stayed flat for six consecutive years to 30 June 2015", meaning that some of the investments weren't needed.
The problem was exacerbated by the fact that, as network charges rose, customers used even less energy, thus making network prices increase further to cover losses.
Hackett argues that energy companies will continue to "drive people off the grid if they get too greedy about fixed network costs", adding that if networks instead installed batteries into the grid and encouraged householders to do so by committing to purchase excess energy off them, then they could potentially save millions of dollars, make the grid more efficient, cheaper for consumers and therefore more attractive.
The concept is something that grid operators are looking into, Hackett says. "It's just a question of how quickly the economics and batteries improve to make that business case stack up."
He adds: "As batteries get cheaper in the near future, I expect that networks will increasingly move to this model."
This article was amended on 20 April 2016. The makers of the ZCell did not claim, as the original article said, that the battery had 100% efficiency.
Guardian sustainable business
Innovations in renewables


We will certainly make it enjoyable, educational and spectacular, in line with adjusting times and all of our achieving success through the many decades," Mr Khaw authored. CIMB Private Banking economics Song Seng Wun says, "The government is watching in case there are signs of distress sales or a real estate slowdown combined with a lack of buying interest for Flora Drive Condo. The overall wide variety of residences put on public sale fell by 4 % to 119 units in Q3 2014 compared to previous quarter, but on an annual basis there seems to be a 1.7 percent increase, said a Knight Frank review.
This has consequently triggered an increasing trend of landed properties being placed for public auction. They are also watching for a lack of Hong Leong Pasir Ris Condo consumer confidence they could also cause a downturn in demand. "But that doesn't seem to be what we're seeing currently in the market today for Flora Road Condo." In spite of the fact that sales of new private homes have dropped markedly, there is buying taking place, with popular projects selling out and new ones being launched, such as the "North Park Residences.", As well as the "High Park Residences.".
Hong Leong flora drive condo developers currently are more ready to accept discounts because they currently have to pay more for development expenses should units remain unsold after TOP. Prices have been falling, but no one has been suffering any losses at this time, and as yet, no one is raising any red flags said one analyst. During the financial crisis of 1998, 452 properties were put up and this is far lower than the 2,462 listings that occurred during the 2004 market downturn.
On the other hand, the total number of real estate proposed by hong leong flora road condo using mortgagee sale jumped by 16.2 percent to 43 units using a quarterly basis. Of that, there were six landed properties, up from five in Q2 2014. It's location enable NParks to add in the Science Centre with the new Gardens, showing both themes including research, technology & garden. A lot of prospective buyers who are on the affluent side are currently on the lookout all-around for top of the range houses in distress or are actually offered with bulk discounts by developers. In fact, mortgage sales are expected to go as high as 200 sales by the end of 4th quarter 2015. Moreover, this is still much lower than the Lehman Brothers reported during their crisis in 2008 when 270 mortgages were affected.
Hong Leong Pasir Ris Condo mortgage sales have risen, it is not likely that they will do so sharply or to a high extent as people are gainfully employed and the unemployment rate is one of the lowest in Singapore's history, another economic consultant, was quick to add. The relatively more costly total price relating to landed properties, combined with the implementation of the Total Debt Servicing Ratio (TDSR) property measures, has caused it to be progressively challenging for landed homeowners to support their particular mortgage payments. The Science Center has taken a longer time to carry out as works were temporarily stopped to reduce the demand for building laborers, based on flora drive hong leong condo early on reports.


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FIRE > General Info Page > FIRE Statement on NCATE's Encouragement of Political Litmus Tests in Higher Education
FIRE Statement on NCATE's Encouragement of Political Litmus Tests in Higher Education
by FIRE Staff June 5, 2006
The Foundation for Individual Rights in Education (FIRE) is deeply concerned that the National Council for Accreditation of Teacher Education (NCATE) is using its power as a federally authorized accreditor of education schools to promote vague standards that facilitate and encourage discrimination against students on the basis of their political viewpoints.
Specifically, NCATE's recommendation that education schools evaluate teacher candidates using amorphous, malleable criteria—such as the candidate's commitment to "diversity" or "social justice"—raises serious constitutional concerns. Because no objective consensus on the "correct" meaning of such politically charged terminology can reasonably exist in a diverse democratic society, these vague evaluative criteria too often become vehicles for pressuring teacher candidates to alter or abandon their core political, philosophical, or moral beliefs. Unfortunately, examples of precisely this type of inappropriate pressure abound at our nation's colleges and universities.
NCATE, like all accrediting agencies, has a close relationship with the federal government pursuant to federal law and wields substantial power over its accredited schools. This potent authority makes NCATE's promotion of such vague standards for candidate evaluation all the more troubling because it lends a federal imprimatur to a pernicious form of viewpoint discrimination. In evaluating NCATE's application for reauthorization as an accreditor, FIRE urges the Department of Education to consider the unquestionable importance of freedom of conscience for our nation's next generation of teachers. The Department of Education should refuse reauthorization until NCATE ceases to promote vague evaluative standards that result in discrimination on the basis of political viewpoint.
NCATE'S STANDARDS ARE VAGUE AND DEEPLY SUBJECTIVE.
NCATE maintains a set of Professional Standards for the Accreditation of Schools, Colleges, and Departments of Education (the "Unit Standards"), which forms the basis for NCATE's decision whether or not to accredit (or continue to accredit) an education program. The Unit Standards are revised every five years "to ensure that the standards reflect current research and state-of-the-art practice in the teaching profession." The most current version of the Unit Standards is the 2006 Edition.
Unit Standard 1 requires that candidates in an education program "demonstrate the content, pedagogical, and professional knowledge, skills, and dispositions necessary to help all students learn." NCATE defines "dispositions," in relevant part, as:
The values, commitments, and professional ethics that influence behaviors toward students, families, colleagues, and communities and affect student learning, motivation, and development as well as the educator's own professional growth. Dispositions are guided by beliefs and attitudes related to values such as caring, fairness, honesty, responsibility, and social justice. [Emphasis added.]
NCATE's Unit Standard 4 requires students and faculty to demonstrate a commitment to "diversity," a term susceptible to highly politicized interpretations. NCATE also suggests that it is appropriate for schools to evaluate teacher candidates according to their commitment to "social justice," another amorphous term. When education schools attempt to evaluate candidates according to their commitment to these nebulous ideals, students are often improperly judged on the basis of their political beliefs rather than on their academic performance.
NCATE'S STANDARDS DIRECTLY INFLUENCE SCHOOL POLICIES, RESULTING IN VIEWPOINT DISCRIMINATION.
NCATE currently accredits 623 education schools, with 100 more seeking accreditation. Not surprisingly, NCATE wields a tremendous amount of influence over the schools it accredits and over schools seeking new accreditation. Schools take NCATE's requirements and recommendations very seriously; many schools' websites make clear that their evaluative criteria were adopted in an effort to comply with NCATE's standards.
For example, Columbia University's Teachers College, one of the country's foremost education schools, maintains an NCATE Exhibit Room on its website, which, as part of "Standard 4: Diversity," states that teachers must "meet expectations for teaching for social justice." The introduction to George Mason University's Professional Disposition Criteria, which require a commitment to social justice, states that "the Virginia Department of Education and the National Council for Accreditation of Teacher Education promote standards of professional competence and dispositions." The University of Nevada, Las Vegas' Policy Regarding Student Dispositions, which mandates that teacher candidates hold certain beliefs regarding diversity, leads off with NCATE's definition of dispositions. NCATE's unquestionably pervasive and powerful influence effectively dictates evaluative policies at education schools around the country.
Because NCATE's recommendations contain politicized and ambiguous terminology that virtually necessitates the evaluation of the political views of teacher candidates, their adoption has led to specific incidents of viewpoint discrimination against teacher candidates with dissenting views.
For example, this past fall, FIRE defended the rights of 42-year-old education student Ed Swan, a self-described conservative Christian. Swan was given poor marks on "dispositions" criteria used by Washington State's College of Education for expressing political beliefs, such as the idea that white privilege and male privilege do not exist. The disposition in question required that "[t]he pre-service teacher appreciates and values human diversity and shows respect for others' varied talents and perspectives." To be considered "at standard" with respect to this disposition, students had to "exhibit[ ] an understanding of the complexities of race, power, gender, class, sexual orientation and privilege in American society." Before FIRE intervened on his behalf, Washington State threatened Swan with dismissal if he did not sign an unconstitutional contract obliging him to submit to even more ideological litmus tests. Upon receiving FIRE's letter, the university dropped the contract and pledged to FIRE that it would no longer use its "dispositions" criteria in an unconstitutional manner.
Cases like this are part of a growing trend toward a lack of respect for the individual rights of belief and conscience among faculty and students at our nation's institutions of higher learning. For example, FIRE had to intervene at Rhode Island College, where the School of Social Work required a conservative master's student to publicly advocate "progressive" social changes if he wanted to continue pursuing a degree in social work policy. At Le Moyne College, a student was dismissed from the graduate education program for writing a paper in which he expressed his personal beliefs about the need for strong discipline in the classroom—a paper that received an A-.
Numerous other education schools evaluate students according to viewpoint-discriminatory criteria:
York College of the City University of New York requires teacher candidates to "believe[ ] in social justice."
The State University of New York-College at Oneonta requires candidates to "provide evidence of their understanding of social justice in teaching activities, journals, and portfolios," and requires that "candidates understand and evaluate the varied approaches to multicultural reform, and identify social action as the most advanced level."
At the University of Louisville, "the knowledge base students will be exposed to in our [teacher education] program are designed to enable them to commit to principles that fight against racism and other forms of oppression, including those based on class, gender, religion, sexual orientation, physical ability, or national origin and language."
At the University of Nevada, Las Vegas, students are expected to "demonstrat[e] the belief that diversity in the classroom, in the school, and in society is a strength," and to "select[ ] materials, develop[ ] lessons, and promot[e] classroom environments that counteract negative stereotypes and bigotry."
Columbia University's Teachers College "collect[s] baseline data on candidates' performance as it relates to diversity and social justice," and "the faculty are developing better ways of assessing whether candidates meet expectations for teaching for social justice."
George Mason University "expects students, faculty, and staff to exhibit professional dispositions through a…commitment to democratic values and social justice," a commitment that requires students to "advocate for practices that promote equity and access" and to demonstrate an "awareness of practices that sustain unequal treatment or unequal voice."
Although these values may seem unobjectionable to some, their vague and easily politicized nature makes it easy for a program to punish, exclude, or coerce a teacher candidate on the basis of dissenting political views. Atheists and devout Muslims, socialists and libertarians, Democrats and Republicans may all agree that they believe in "social justice" but are unlikely to define it in the same way. Whose criteria, then, should a university use to define the term?
NCATE's recommendation of the use of "dispositions," and the use of a "social justice" disposition in particular, leads directly to the adoption of ideological litmus tests for teacher candidates at education schools. If NCATE wants to remain an authorized accreditor, it needs to wield its power responsibly and not appear to endorse a standard that leads to the establishment of a political orthodoxy within schools of education.
As the Supreme Court stated with enduring eloquence in West Virginia State Board of Education v. Barnette, 319 U.S. 624 (1943):
[F]reedom to differ is not limited to things that do not matter much. That would be a mere shadow of freedom. The test of its substance is the right to differ as to things that touch the heart of the existing order….If there is any fixed star in our constitutional constellation, it is that no official, high or petty, can prescribe what shall be orthodox in politics, nationalism, religion, or other matters of opinion or force citizens to confess by word or act their faith therein.
NCATE and our nation's education schools are improperly attempting to dictate the values and ideals that teachers must possess in order to educate students. FIRE urges the Department of Education to remember the absolute importance of the freedom of conscience as it decides whether to reauthorize NCATE as an accreditor of education schools.
Cases: NCATE: Encouragement of Political Litmus Tests in Higher Education


The Story of Bottled Water, released on World Water Day tells the story of manufactured demand - how you get people to buy more than half a billion bottles of water every week. Watch the video to find out about the Bottled Water Con.
Ditch bottled water and make the purest water available from the comfort of your own home with a Water Distiller with Make Water Pure.


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Obcężnicowate (Labiduridae) – rodzina skorków z podrzędu Neodermaptera, infrarzędu Epidermaptera i nadrodziny Labiduroidea.

Obejmuje około 71 gatunków głównie kosmopolitycznych, charakteryzujących się obecnością parzystego aparatu kopulacyjnego oraz parzystego prącia u samców.

W Polsce występuje tylko jeden gatunek: obcążnica nadbrzeżna (Labidura riparia).

Systematyka
Obcężnicowate grupowane są w trzech podrodzinach:

 Allostehinae Verhoeff, 1904
 Labidurinae Zacher, 1911
 Nalinae Steinmann, 1975

Ponadto należą tu 3 wymarłe rodzaje niesklasyfikowane do podrodziny:

 †Caririlabia Martins-Neto, 1990
 †Labiduromma Scudder, 1890
 †Myrrholabia Engel et Grimaldi, 2004

Przypisy

Obcężnicowate


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Is Ozu Slow?
Alain Kerzoncuf
Tiger Tanaka - Interview with Japanese Cult Director Hiroyuki "Sabu" Tanaka
Sirk, Douglas
The 43rd San Francisco International Film Festival - A Report
Real and Reel: The Education of a Film Obsessive and Critic by Brian McFarlane
The Saragossa Manuscript
Hitchcock's Aventure Malgache (or the True Story of DZ 91)
The British National Archives (1) are a goldmine for researchers, particularly for those interested in the works of Alfred Hitchcock. In addition to their extremely friendly and efficient staff, the reference material is easily accessible, even for foreign visitors.
Sure enough, the reference number INF 6/2470 brings up a large amount of unreleased information, right from page 1. In fact, these initial paragraphs begin to throw new light on Hitchcock's propaganda short, Aventure Malgache (1944), in terms of its cast members and, especially, on the true – and surprising – story behind its screenplay.
Judge for yourself:
From Mr. B.
To Mr. H. (2)
I should be glad of your advice on the request via the F.O. [British Foreign Office] for a Monsieur Clermont to borrow a 35mm print of Adventure Malgache (Madagascar Adventure).
We have a print (French version), but I am not sure if we should release it.
Mons. Jules François Clermont was a French lawyer who practised in Madagascar, was imprisoned by supporters of the Vichy government, escaped and worked for the British through "Madagascar Libre" broadcasts from Mauritius. Later, he came to London with Paul Bonifas' Moliere Theatre.
Clermont was offered £50 for full rights in the story and for his collaboration with a third party (3) in turning the story into a script. Crown's copyright appears to have been restricted to the use of the story as the basis of a propaganda short film in French and other languages "without restriction either as to the manner in which the film is to be exploited or the territories in which it is to be distributed". M.O.I. [British Ministry of Information] were to have the right of commercial exploitation.
International Contracts Ltd. (a subsidiary of Associated British Picture Corporation Ltd. of Welwyn), under a contract negotiated by Mr. Sydney [sic] Bernstein, undertook to make the film for a fixed price of £5,000. (4) Alfred Hitchcock was director.
From the very beginning the idea failed to win the support of French Section and representatives of the French Resistance here in London, but the film was completed. When it was shown to the film officer and his staff in Paris, however, he advised against its release and the project was abandoned.
In the light of this, do you think we could be justified in lending our print to Clermont?
[Followed by a hand-written note:]
This obstacle not only to the commercial distribution of Aventure Malgache (aka Madagascar Landing) but also to its screening at film festivals (such as Oberhausen, Brussels and London) officially applied until 3 September 1993, when the film was presented in a public screening at the Everyman Cinema, Hollybush Vale, Hampstead, under the auspices of the British Film Institute.
The US Copyright Office registered the film mid-1993 under the reference number PA 712 254 and, on 2 May 1995, it was submitted for the first time to the British Board of Film Censors (Ref. AVV114198) by Connoisseur Video (in reality, the BFI) with a view to releasing it on VHS. This coincided with the release of another Hitchcock short, Bon Voyage (5 April 1995).
It is interesting to note that Aventure Malgache was never submitted to the French "Commission de Contrôle" (which later became the "Commission de Classification") for registration as a cinematic work intended for public release. This was not the case for Bon Voyage, which was registered on 6 November 1945 (Ref. 1623), despite the fact that its distributor had scheduled its theatrical release for 5 October that year in Strasbourg, France.
Video release in France does not require such procedures. In principle, no particular authorization is necessary, although a work can be withdrawn after release if the rating category chosen by the video publisher is found to be incorrect.
So what can explain such a relentless campaign against a short film, even if Aventure Malgache obviously had the potential to ignite tensions between the Gaullists and the British authorities due to its portrayal of French Resistance fighters directed by an Englishman? In any case, the Foreign Office was clearly involved in the issue throughout this period.
Bon Voyage suffered a similar fate, banished to a state of purgatory for over almost fifty years, although apparently not for the same reasons. The classic explanation offered by officials at the MOI, and later by the Central Office of Information, is exemplified by this document from 7 October 1963:
To Mr. W.
From F.W.C.
"Aventure Malgache"
This is the title of a Hitchcock film in our Copyright made towards the end of the war. It was recently requested by the Belgian Film Archive (5) for a Hitchcock season.
Because of its subject matter, I viewed the film with Miss C. of Foreign Office and we were both doubtful of the wisdom of releasing it because of the potentially libellous material it contains. It was then seen by Mr. O., Assistant Head of Western Department, F.O., who agreed with our view and is referring the matter to Foreign Office Legal Adviser for a ruling.
I attach a potted history of this film: all files on it have unfortunately been destroyed.
B.F.I. hold the preservation print of the film and have been told not to release it pending further instructions. A 16mm copy has been made for C.O.I. use and is in our vaults.
Here is another example of political "waffle" from the 1970s:
I have had a long talk to Barbara R. at the European desk. Her advice is to stick to the line that we cannot give permission for a screening of Aventure Malgache. She feels that the risks involved in allowing defamatory material to issue (particularly in the context of French susceptibilities) […]
This extremely rigid attitude thus remained unshaken, and in August 1979 prevented the screening of this short at a retrospective of Alfred Hitchcock films in London, organized by David Meeker under the aegis of the BFI and the National Film Theatre.
Initially authorized to show the print of Aventure Malgache held at the BFI at a screening planned for 22 August, Meeker was later informed that this was no longer possible, for the reasons cited above. Despite attempted scare tactics (such as threatening media exposure) and other arguments, nothing could influence the decision of the officials concerned.
This is how Meeker, former head of the NFT, described the experience to me:
Thank you for your enquiry about Aventure Malgache.
Throughout the 1960s and the 1970s a major (and by far the most interesting) part of my work at the B.F.I. was to supply the National Film Theatre with the 2,000 or so films that it required each year. That is, locating acceptable copies, tracking down copyright claimants and negotiating accordingly for our screenings. Several times during that period we wanted to screen this short as part of one of our programmes but permission from the copyright holder was always refused. The various UK Government authorities set up before and during World War II to produce propaganda were all merged into one entity called the Central Office of Information (C.O.I.) and this organisation still exists today to take care of the many thousands of films in its care and still produces all our Government-sponsored material for cinemas, television and, particularly, for overseas promotions. Back in the days when I was in contact with them they were an extremely bureaucratic office and, I always suspected, simply repeated their standard mantra to all enquiries about the film ad nauseam without ever taking the trouble to pass such enquiries up to their superiors. When pressed, they always argued that the film contained "operational secrets" that must be protected for the security of the country. This was plainly nonsense but I could never get them to re-examine someone's original decision even 20 or 30 years after the war. Once I considered writing to our Foreign Minister or even to the Prime Minister about it in the hope that he would instruct a minister to look into the matter but for some reason I never did that.
Obviously, all those reactionary bureaucrats at the C.O.I. have long since departed and someone (probably a younger cine-literate person) eventually took the trouble to refer to the original production contracts or to simply ask his superiors to review the situation which by the 1990s had obviously become scandalously absurd. The film then became generally available for screenings, video, etc. I recall taking a print to Berlin as part of a talk that I was asked to give to film students as they'd never had a chance to see it before.
Incidentally, the B.F.I., being a charitable organisation, free of censorship and strictly non-commercial (in those days) and with a strong educational leaning, it was very rare indeed for anyone to refuse us permission to screen their work – unless for strictly commercial reasons. For example, we never had the slightest problems in screening Nazi material that was totally banned elsewhere. This one short film was virtually unique in that way.
David Meeker
Moving on from events linked to the film's destiny, we find that the National Archives file on Aventure Malgache reveals the names of two people who prove to be of fundamental importance: Paul Bonifas and Jules François Clermont.
Let us begin with Paul Bonifas. (6)
Internet research (such as on IMDb) on the career of this excellent French actor (1902-1975) leads inevitably to a film in which he performed in 1963, and which provides a connection with Alfred Hitchcock via the film Charade, directed by Stanley Donen. Think back to the stamp dealer in this film …
Now, take a close look at the face of the Michel character in Aventure Malgache, the former Madagascar chief of police (and, especially, listen to his voice). It's the same man all right!
Having established this, and after numerous hours on the telephone and the internet – and with a little luck thrown in – I was able to contact one of Bonifas' children, Henri Dominique, who allowed me to consult his family archives. Among these records was this handwritten document, a kind of curriculum vitae listing the film roles played by the actor in England during World War II. It was written in English, as Paul Bonifas was bilingual.
The Bonifas family records also include three production stills from Aventure Malgache (the first of these has been previously published, while the other two have never been published).
There were many other equally fascinating documents, making it possible at a later stage to put names to faces in the lead cast of Aventure Malgache. As shown in the opening credits of the film, the troupe of French actors is credited collectively as "The Molière Players", a decision made for security reasons. Paul Bonifas, also a member of the Free French Forces, was the founder of the Théâtre Molière in Britain in the early 1940s.
The Théâtre Molière troupe staged a repertoire of mainly Molière works in London theatres (see below), as well as in regional towns and at French army barracks.
One could imagine that Alfred Hitchcock may have attended one of these performances, perhaps familiarizing himself with the talents of certain actors that he would later sign up to play in Aventure Malgache.
Paul Bonifas ………………………………… Michel
Paul Clarus …………………………………… Himself
Paulette Preney …………………………… Yvonne
André Frère ………………………………… Pierre
Jean Dattas (aka Jean Sylclair) …… The man behind Michel (reading telegrams)
Some of these actors went on to pursue careers in theatre, radio and so on (we will speak about Paul Clarus a little later). Such was the case for Paulette Preney (1917-1993), who is pictured below accompanied by an actor who plays a major role in Hitchcock's Murder (1930).
Paulette Preney also acted alongside Paul Bonifas in another propaganda short film, directed by Anthony Asquith the following month (March 1944), entitled Two Fathers.
Paulette Preney was married to Jean Dattas (1919-1975), whose career as an organist led him to perform at Notre Dame Cathedral in Paris. One of their children, Gilles Dattas, worked in the British television industry prior to following a career in painting and drawing in France.
André Frère (1908-1996) continued a high profile career in the theatre in France, Belgium and the USA.
Finally, a Canadian actor by the name of Guy Le Feuvre (1883-1950) undoubtedly plays the role of the "General" (in the scene showing ex-servicemen offering their help at the beginning of the film). Here is a photo of him from a 1943 edition of The Spotlight.
As a matter of interest, this actor also performed in a musical entitled Arlette, staged at London's Shaftsbury Theatre in 1917, in which he was credited as composer along with … Ivor Novello. (7)
All this information shows us that, contrary to what one might understand from the prologue, the film's cast is not strictly speaking entirely composed of members of the armed forces. The great majority were, in fact, stage actors rather than film actors.
The story of Paul Clarus deserves a detailed mention here, since he provided the inspiration for the screenplay of Aventure Malgache.
Paul Clarus' real name was Jules François Clermont, as confirmed by this letter, which also serves as an excellent résumé of his career:
Reference No. 1610
To Mr. R.
Dear R.,
I was extremely pleased to have the opportunity of meeting you last Friday, and for the little talk we had on matters of mutual interest.
I found out that the name of C.'s film is Aventure Malgache. It is being printed as a short, but will not be exhibited in the U.K. It is intended for France and French speaking countries.
The following is the extract from the Evening Standard about which I spoke: –
One–Man Radio
Maitre Jules Clermand [sic], Paul Clarus as he is known at the Theatre Moliere here, tells how he was once a "radio station" all on his own.
He was being sent back from Madagascar to Vichy France as a Gaullist prisoner when British warships raided the convoy. (8) He was freed, taken on board a destroyer, and broadcast from the ship in the Indian Ocean as "Madagascar Freedom Radio".
M. Clermand [sic] was a lawyer in Madagascar for many years. His start in life was on the stage, then a legal appointment took him to Madagascar. Now in his early fifties he has gone back to his first love.
When you return will you give me my kind regards to T., and meanwhile with very best wishes for a safe journey and a pleasant tour.
Major B.
The Ministry of Information,
Malet Street,
LONDON, W.C.1.
Jules François Clermont was born in Algeria in 1895, and appears in the British Secret Services files in Section S.O.2 (S.O. for Special Operations) under the code name DZ 91. The origin of his stage name Paul Clarus may be a reference to the French city of Clermont-Ferrand, since "clermont" is derived from the latin "mons clarus" ("cler" relating to the word "clair," meaning "light").
Clermont is mentioned as "Clarousse" in a number of English-language publications (although not exclusively, as seen in Jane Sloan's book on the works of Hitchcock), which is simply a phonetic spelling of "Clarus". This can be explained by the unfamiliarity of the French (or German) "u" sound to English-speakers. Nevertheless, a 1942 report described him as follows:
2nd February, 1942
The new one-man post (Madagascar Libre) averaged 45 minutes each night. Mr. Clermont is extremely versatile: he speaks in French, Malgache and the trade Creole patois used by Indian and Chinese merchants in Madagascar. His personality is powerful and somewhat disreputable. He never minces words and both his idioms and his anecdotes are frequently vulgar without being coarse. He exalts in his freedom to listen to world radios and to comment freely on the news they give. He is robustly confident in an Allied victory.
This voice has aroused intense interest and amusement among listeners in Mauritius who consider his performance to be witty and admirably suited to the mentality of the average French Functionnaire [sic] or merchant in Madagascar.
Just before the second Madagascar operation, the station was closed down for reasons of security and for the same reason our Mission pressed us to allow them to send him to the U.K. as they did not want him in Mauritius or South Africa during the operation. We agreed that he should come with the idea that he should be transferred to P.W.E. [Political Warfare Executive] for work with their new Propaganda Mission in West Africa which was then being organised.
M. Clermont's arrival coincided with the North African operation, and P.W.E.'s plans for subversive propaganda had to be changed.
Since the end of October, Clermont's services have been offered to P.W.E., O.S.S., O.W.I., J. and H.
Sections and to A.M.V., but none of them have been able to offer him employment.
While he has been in London he has done a little work for the London Transcription Service and the B.B.C. and also briefed General Legentilhomme (9) and various other officials at Fighting French Headquarters on conditions in Madagascar.
Relations between Clermont and Free France were evidently not at their best, as illustrated by another report:
Clermont tells me he has been trying to discover why the Fighting French refused to employ him and from a friend who works at the Fighting French headquarters he has come to the following conclusions:
(a) Because of his Broadcasts from "Madagascar Libre", where his line was – "do not join the British, do not join the Americans, do not join de Gaulle – remain French and independent – denounce Vichy and the Axis and rally to the United Nations". Therefore the Fighting French argue his broadcast were anti-Gaullist.
(b) Some of de Gaulle's influential advisers are strongly against recruiting any Frenchmen who have previously worked for or had close connections with the British.
(c) There is some suspicion that the British authorities might retain an interest in Clermont and use him as an agent inside Fighting French headquarters.
(d) There has apparently been an indication from Madagascar that it would be unwise for Clermont to return there. His very outspoken broadcasts upset too many people who have now "turned their coats" and are working with the Administration, and they would make things very unpleasant for him.
We do not know if Alfred Hitchcock was aware of such information when he met Clermont at Claridge's Hotel in London one morning soon after his arrival from the United States. We can presume, however, that his friend Sidney Bernstein, who held a high-ranking position at the MOI, had been informed of the adventures of DZ 91. Nonetheless, the last paragraph of the report quoted above brings to mind the final scenes of the film in which the Michel character does indeed "turn his coat".
Perhaps these details (and others) were included in the screenplay that Clermont presented in person to Hitchcock, in the presence of two other people (whose names and functions remain a mystery) (10) as well as a young Belgian actress, Elma Soiron (11), a member of Bonifas' troupe and incidentally bilingual. Soiron took the role of interpreter, translating and performing various roles in the story scene by scene.
Arriving in this grand establishment, "with gilt everywhere", made an unforgettable impression on Soiron. Indeed, after knocking at the door of the room she was directed to, she was greeted by a "small, rather stout man". She asked this charming character if she could speak to Mr. Hitchcock, whereupon he replied, "But I am Mr Hitchcock!"
After an excellent lunch at Claridge's restaurant (we know how much Hitchcock appreciated his food), work resumed until the evening, during which time Soiron, as the only woman present, felt obliged to serve tea, which was brought in on a cart.
One question, among others, remains unanswered: how did Angus MacPhail work on this screenplay in French, one which was based directly on the rather complex experiences of Jules François Clermont, a lawyer in Madagascar, amidst a backdrop of Franco-Britannic and internal French conflicts? If such archives exist, it would be interesting to research an explanation for this mystery.
While it is relatively simple to find information such as this relating to Aventure Malgache, the same cannot be said of the short film, Bon Voyage.
This even extends to the film's musical score, composed by Benjamin Frankel:
There is, however, no trace of a musical score composed for Aventure Malgache.
One could imagine that the same technical crews were involved in both films, although the cast was not the same (with a more British-dominated cast for Bon Voyage?). This could explain the lack of information.
That said, at least one actor features in both films: in the cast of Bon Voyage and as an extra in Aventure Malgache:
Gunther Krampf (Cinematographer)
Ronald Anscombe
Warwick Ward
Manny Yospa (12)
Here is an amusing anecdote regarding Manny Yospa (13), from an interview on 14 March 1995, with Charles Drazin (note a slight error in his recollections when he states that three films were shot by Hitchcock)
YOSPA: Oh yes they – well it was their job I suppose and – they did what he was telling them […] And then another thing we did at Welwyn. They flew Hitchcock over secretly during the war and he made three films in French for the French Resistance. And it was astonishing the way he worked, and everything was – he drew out – like nowadays they have storyboards for commercials…
DARZIN: Yes.
YOSPA: … and he did the same. And I kept some of those but … [laughs]
DARZIN: So every single scene was mapped out and he knew exactly …
YOSPA: Yes, and he drew the composition, er – and he was very keen on pace. Because I remember he had his stopwatch and there was a sort of conversation between two French people and he timed it and said, "We want it a bit quicker." Until he got the speed he wanted …
DARZIN: And how did the actors respond to this treatment?
YOSPA: Oh yes they – well it was their job I suppose and – they did what he was telling them.
Needless to say, I have never managed to get hold of these storyboards!
There are many remaining grey areas surrounding these two short films, not so much in terms of objective analyses of the works themselves (of which there are many "scholarly" reviews which are generally unanimous in their assessments) as in more technical terms – cast, crew, screenwriters and so on.
New discoveries in this area are always possible, if not probable, although the considerable time passed does not make the task any easier.
Special thanks to: Henri Dominique Bonifas, Gilles Dattas, Elma Soiron, Pamela Stirling.
The National Archives, Kew, Richmond, Surrey, TW9 4DU, UK. Aventure Malgache: file # INF 6 /2470. Two Fathers: file # INF 6 /392. Paul Clarus: file # HS 9/326/.
Possibly an internal memo from the British Ministry of Information.
Could this be Angus MacPhail?
In around 1944, Anthony Asquith had directed a film entitled Two Fathers upon payment of £50 for expenses, covered by the Crown's budget. Finance authorized £4,117 direct to the Crown in respect of production. V. S. Pritchett was commissioned to prepare a treatment for £25. The film has never been commercially released.
Perhaps François Truffaut requested it in preparation for his conversations with Alfred Hitchcock in 1962, considering that he had seen many of Hitchcock's films at the Bruxelles Cinémathèque.
Even if his film and television career was extensive (feature films, tele-movies, television series and so on), he was first and foremost a stage actor. He was, of course, a member of the Comédie Française just prior to and immediately following World War II for a period of around two years.
Templeman Library, University of Kent at Canterbury, UK. http://library.kent.ac.uk/library/special/icons/playbills/playdat2.htm.
The French ship's name was Compiègne.
French Governor of Madagascar appointed by General de Gaulle.
One might wonder if Colonel Forestier, whom Hitchcock mentions in his interviews with François Truffaut, was present at this meeting. And what was the actual role of Claude Dauphin in the writing of the dialogue, considering that he was at times seen as the "11th hour worker" by long-time members of the Resistance, and since he is often credited as actively involved in this aspect of filmmaking. Our research among members of his family has not shed any light on these questions. Similarly, the French actor Jean Mercure is sometimes mentioned as participating in this film, while no confirmation of this information has been found.
Elma Soiron (born in 1918) was, however, not part of the cast of Aventure Malgache; neither were Suzie Marquis or Elsie D'Hont (both Belgians), other members of Paul Bonifas's theatre troupe with whom I managed to make contact.
"So I started work at Welwyn Film Studios – Warwick Ward was the pseudo-manager, chief of the camera was Ronnie Anscombe, who is quite well known. And he took me under his wing and he taught me everything about cameras. And we were doing feature films there, and in between the feature films we did a lot of war material, instructional films for the forces, propaganda films." Broadcasting Entertainment Cinematograph and Theatre Union interview of Manny Yospa. The BECTU Oral History Project, University of East Anglia, UK, www.uea.ac.uk/eas/britcin/descriptions.html.
Modernity and the Film Exhibition Industry in Gippsland: The Glover Family Business 1926-1973
Letters to the World: Erice-Kiarostami: Correspondences Curated by Alain Bergala and Jordi Balló
Alain Kerzoncuf has published several pieces on Hitchcock, including Hitch and the Remakes, and two pieces with Nándor Bokor: a work on the French Riviera locations used in To Catch a Thief, and 'Alfred Hitchcock's Trailers' in Senses of Cinema
English Hitchcock by Charles Barr
Vertigo: The Best Film of All Time?
Peter Wertz


Although this is not a place to go shopping, it is a great place to learn more about the clothes we are shopping for! The FIT museum is known for its innovative and award winning exhibits. The exhibits model aesthetically and historically significant fashion forward clothes, accessories, textiles and more. FIT also offers many courses on sustainable fashion, thus many exhibits are geared in this direction.


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