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RUSTY TALK WITH FILMMAKER NADIA LITZ
Nadia Litz is an award-winning Canadian actress and director. After her debut at Cannes in the award-winning film The Five Senses, Maclean's magazine voted her "One to Watch" for the new millennium. She played Sam Shepard's daughter in 2002's After The Harvest and was nominated for a Gemini Award for Best Actress for that role. In 2007 she won the Vancouver's Critics Award for her role in Reg Harkema's Monkey Warfare. Her 2010 short film, How To Rid Your Lover Of A Negative Emotion Caused By You!, produced by the Canadian Film Centre where she was a director-in- residence, premiered at the Toronto International Film Festival in 2010, has played over a dozen film festivals throughout the US, Canadian and internationally, including out-of-competition at the Cannes Court Metrage, winning best short at Austin's Fantastic Fest 2011. In 2012 Litz was featured on the prestigious Wholphin anthology, alongside Jay Duplass (Jeff Who Lives At Home) and Sean Durkin (Martha Marcy May Marlene). Recently Litz completed an experimental short doc on Canada's revered and controversial Right Honorable Adrienne Clarkson, which makes its world premiere at VIFF in September 2012. Her first feature Hotel Congress, a comedy-of manners that takes place in a Tucson hotel is in post-production. While her second feature, a love story that takes place in a suicide forest in Japan, goes to camera in 2013. You can follow her on Twitter.
RUSTY TALK WITH NADIA LITZ
Kathryn Mockler: What is your first memory of writing creatively?
Nadia Litz: In grade school we had to choose a story of a historical figure, do research on the figure, and then make a book on that figure. We had to write it, illustrate it, and even bind the book ourselves. My dad had taken me to go and see Milos Forman's Amadeus and I became obsessed with it and subsequently Mozart, so I chose to write my "book" on him. I called it "Wolfie".
KM: When did you first start directing and writing for film?
NL: I tend to do a lot of "research" before I try something. I read screenwriting books and had taken classes, and I had been aimlessly writing pretend scripts and treatments for a while—maybe 10 years. But, it wasn't until my last year of university studying Cinema Studies that I directed. It was a 3-minute experimental short that was an assignment in a directing for non-majors class. It landed me a spot as a director-in-residence at the Canadian Film Center months later. That was in 2009. Which proves I'm a noobie and you should probably stop reading this.
KM: How do you think your acting background influences or affects your directing and writing?
NL: I think it does but it is hard to articulate how. I suppose I trust what good actors can bring to a moment, so when I was first writing, I tended to underwrite (according to producers and story editors). I continue to learn the balance of what should be on the page and what shouldn't be. I was just re-reading Allan Ball's American Beauty, and in the script he writes a stage direction for the character Carolyn: "Even when she slept she had a look of determination on her face." That kind of writing is gold for an actor. As an actor if I read that one line, I would understand the character, so I try to be mindful of things like that when I write and when I direct. The script for Butch Cassidy and the Sundance Kid is also full of stage direction like that. Simple editorial clues that will be an anchor for an actor, without force feeding it. I don't mind breaking what might be considered screenwriting convention in order to make a script come alive for an actor; however, I do believe in a firm structure as a base.
KM: What inspires the stories you tell?
NL: I have noticed that locations seem to inspire the first grain of an idea for me. However, I hope that whatever inspires me at a given time will evolve as I do as a writer. I think the first few stories we tell tend to have a personal element. Filmmakers can seem like we want our trajectory to be the indie personal story root because when we are first starting out, we have budgetary constraints that lend themselves to personal stories. I love including personal elements in my stories, little nods to my life, but I have yet to ever want to tell the truth about my life on film. My preference is to look around me. I also like emotionalizing things that are "concepts". Also, I get a bunch of ideas via the Sunday Times. Too many, really, it's shameful.
KM: Was there a writer or filmmaker that had a big impact on you?
NL: Kurt Vonnegut was the first great literary writer I read as a teenager. He had those naive drawings in a few of his novels, which always seemed subversive to high art literature and cinematic to me for some reason. His voice resonates with me still. He is wry and detached but wholly emotional to me. His satire is never mean. He points out the meanness of the world because his heart is broken that it is like that. That's how I see him. I relate to that way of thinking. His voice/tone is highly original.
The list is too long for filmmakers. However most of the films I love tend to be some form of comedy-of-manners in a broad stroke way. I think a lot of Kubrick's films, for example, are comedy-of-manners so I have a broad idea about that genre. Bunuel, Oshima, Ozu, Rhomer, Kubrick, Cohen Brothers, Whit Stillman, Coppola (Sofia)—usual suspects.
KM: When you are directing films that you didn't write—what is the process like? Do you have any advice about what screenwriters can expect when working with a director?
NL: I love the process of directing others' work. It's a whole other ballgame then directing your own work, and both are equally satisfying for different reasons. In directing another screenwriter's script you have to find clever ways of making it meaningful to you. It's a challenge to have one more person you need to satisfy. It can be exciting that your only way to tell the story is visually/emotionally. With the short "How To Rid Your Lover of a Negative Emotion Caused By You!" it was a case of having two very strong voices in the mix—the writer Ryan Cavan and mine as a director. It's successful because both visions were honored.
KM: When writing your own scripts what is the writing process like for you? How do you approach revision?
NL: I love to write. It is a joy. I don't feel bogged down by it. If I hit a block, it's a challenge and I like challenge. The thing that gets me down is when I lose interest in something that I have been working on for some time. Do you try to revive the interest or do you let it go? That's an obstacle for sure. For revisions I like to have a plan. I'll start with strengthening the peripheral characters and work my way towards the protagonist. I just read these great tips from James Schamus, who had some harebrained ideas for revisions I think I might try. Revisions are a drag, but he had these thoughts about standing a draft on its head that seemed very smart.
KM: When getting notes from producers—what do you do when you get a note that you don't like or agree with on your script?
NL: Only take good ideas and only from people you respect. You know your script and characters better than anyone. People will try to convince to take their note by saying things like "you're too close to the script". I say, "yes!" It is a good thing to be very close to your script. Also, when you are starting out people will tell you are suppose to consider all producer notes, because you are new. Like it is a manners thing. This is what I think: your script is the thing you are the expert on. Have the conversation, if only as a way to articulate why you don't agree with their note, but ultimately you make the choice. You are the CEO of your script and a CEO needs to believe in the company and lead it. No one calls a CEO 'precious' when they believe in their company, so don't let words like that deter you...Now, if you're a bad CEO, your company will fail and the public will let you know quite quickly and you won't be allowed to be CEO anymore! So, you have to be a good CEO! But, ultimately I'm all for screenwriters, respectfully, standing up for a choice. Most producers in the real world respect people who can articulate and communicate a vision. It is your responsibility to instill trust in your producers and funders about that choice, however. Also, that was a really long CEO metaphor. I hope it was clear...Also, if you are a gun-for-hire, it's a totally different thing. Then you apply the note and you find your way into the note. Case closed.
KM: What are you working on now?
NL: I just finished shooting my first feature called Hotel Congress. I had been in development on what was suppose to be my first feature The People Garden when this opportunity to make a film for no money presented itself. Hotel Congress is a film full of things I swore I would never do. I wrote it in 12 days. Very little revisions. Very talky. We shot the film in 40 hours. I star in it. I co-produced it. I co-directed it with Michel Kandinsky. Did I mention we shot the entire feature in 40 hours? We shot it on location in Tucson Arizona in a hotel called Hotel Congress. It is a romantic comedy-of-manners that we shot in 40 hours. We're in the edit now. We don't know if we're crazy, but so far we love it and think it's quite charming, actually. It was made with so much drive and love by an insular team of my favorite co-horts. It would be impossible not to love a feature film. That you shot. In forty hours. In the desert.
I hope to make my film The People Garden next year. With a smidge more time.
HOTEL CONGRESS
Feature Film, 2012
Hotel Congress Trailer from Sofia Francis on Vimeo.
Nadia Litz and Michel Kandinsky – Directors' Statement
"Instead of bashfully wearing its microscopic budget as a badge of honor, Nadia Litz and Michel Kandinsky's HOTEL CONGRESS aims for a genuine economy of craft. Ironically, in a project devised and executed in the shadows of the Canadian production stream, it's a combination of old fashion virtues – a resonant location, clever camera placement, and a worthily wordy screenplay – that elevates Litz and Kandinsky's first feature debut beyond a novelty item." –Adam Nayman (Cinema Scope, The Grid)
Hotel Congress is a tender comedy-of-manners about two people who meet in a hotel famous for its nefarious associations to Depression era bank robber John Dillinger. Sofia and Francis try not to have an affair, while trying to find true love. The film comically deals with ethics in an unethical situation and could aptly be re-titled "What Happens When Cynics Try To Care." Or "Why John Dillinger is Not A Bad Guy."
The film was Shot for a $1000, in under 40 hours at the historic Hotel Congress in Tucson Arizona. Litz had been to the hotel 7 years prior to see the post-punk band Interpol play a show in the parking lot. She was struck by the dichotomous feeling of isolation and warmth the hotel had. The way the hotel felt stuck in time.
Nadia Litz (writer, co-director, co-producer, actress):
This film was under 'willing duress' from the start. I say willing because we wanted to prove a point in this very competitive market: you just need some smarts and an air tight work ethic to make an interesting film. Film at its best is about ideas and relatable emotion. Let that be the end of budget and time constraints.
When you start to think of what you can do for $1000, you quickly realize the script can save you. In writing this particular project, I focused on films that we all deeply admired the dialogue of (because dialogue doesn't need lighting!) and why those films work. Obviously we love Mamet and Woody Allen and Hal Hartley and of recent years Lena Dunham comes to mind. We were going through a major Sturges period – hence the 4:3 - his films are simply shot, but beautifully romantic yet not at all 'twee'….But, Whit Stillman is still the quintessential dialogue screenwriter for me. His characters are satirical, but his films are tender in a way that sneaks up on you. Could the Chris Eigeman character be more of a jerk, that you ultimately feel for, because a) he is truly stuck in his own jerk-ness and b)he's the least hypocritical character in the Stillman world. I had him in mind for my character Sofia.
Stillman's ideas and his modern philosophy (or philosophy of modernity) are what you care about in his films. Ideas and philosophies don't inherently cost money so they bode well for indie filmmaking. That seemed like the highest bar to work towards.
I'm not into improvisation, shooting everything and finding the film in the edit for indie filmmaking. I think you need to be more meticulous and disciplined in the basics of the craft as an indie filmmaker
I wrote the film round the clock in twelve days. We were shooting three weeks later. Every word we said is in the original script. It felt mischievous to do it that way, to not belabor the process with second-guessing and rewrites. Just write it and shoot it.
When you don't try to fit into a preconceived mold, the mode of storytelling becomes more interesting. You feel uncensored.
Michel Kandinsky: (co-director, co-producer)
For me, the film is about two people trapped by their own erudite, iconoclast self-awareness. They know what to say at the appropriate moment and how to say it in a clever way but this knowledge keeps them from feeling as deeply as they could.
I approach film as an intuitive medium, one in which too much thought gets in the way when time on set is spent trusting your intuition. It's the opposite of what the characters in the film are doing, until they do it…And then once they trust in it they become the kind of love they aspire to, without even realizing it.
This was the first time I had co-directed anything. The remarkably short amount of time that we had to shoot this film kept us from too much discussion once we were on set. We simply didn't have the ability to talk things out once we started shooting. We had to trust the script and our base instincts, keep out the temptation to over-think. I think that comes through in the finished product. There's an energy there that I find very empowering. We knew we had to just start.
Philip Riccio
Michel Kandinsky
Daniel Bekerman
Exec Producer
Ingrid Veninger
Stacey Donen
Jonathan Eagan
Gabe Knox
Song by
Paul Banks
HOW TO RID YOUR LOVER OF A NEGATIVE EMOTION CAUSED BY YOU!
Short Film, 2010
Produced by the Canadian Film Centre
Directed By: Nadia Litz
Starring: Sarah Allen & Joe Cobden
Screenplay By: Ryan Cavan
Produced By: Heather K. Dahlstrom & Daniel Bekerman
Edited By: Alexandre-Nicholas Giffard
Director of Photography: Daniel Grant
Production Design By: Nazgol Goshtasbpour
Love can make us do weird things. Sadie does a weird thing. She does it to her boyfriend Dennis. Keep in mind she only wants what's best for both of them—a perfect relationship. It could be the perfect relationship, too, as long as nobody bleeds to death.


IQ vs. EQ - Which is Most Important in Your Employees?
Secret #1 -- Admit your mistakes.
This doesn't mean you walk out into the corridor, stop the first person you see, and start confessing everything you've done wrong since starting with your employer. It means that many times our stress is just a bad conscience. One of the most effective ways to alleviate the burden of guilt and worry that a mistake can bring, is to just own-up to it.
Your underlying concern is the fall-out when someone finds out, right? Why not just meet it head-on and on your own terms? Have a game plan for fixing what you broke, and you will not only feel better, but you will be amazed at the impact this courageous act will have on your reputation and trustworthiness.
Secret #2 -- Count your blessings.
Trite and true. The reason this advice has been around so long, is that it works. Human nature is to problem-solve; consequently, we tend to focus on what isn't going well, so that we can go about fixing it. Sometimes we have to force ourselves out of problem-solver mode to see the things that are going right.
When you are absolutely sure that things couldn't get any worse, take out a pen and paper (or just try this silently in your head) and find ten things that are going just fine. Don't stop until you get to ten! Around number five you will feel a shift in your thinking that will get you back on track for the day... or at least until the meeting is over!
Secret #3 -- Stop gossiping.
Ouch! This one is going to hurt a little, but the pay-off is big. When you gossip, you are telling the person you are gossiping to that you will do the same thing to him/her when he/she is not present. It really adds up to appearing (and being) untrustworthy. Not the best trait to cultivate as a co-worker!
Gossip is mostly laziness in making small talk anyway. Instead of relying on this old standby to spark-up the lunch table chat, have a few topics prepared before you get there. What if someone else starts gossiping? Don't respond judgmentally. Just acknowledge the person's concerns ("He really bugs you, huh?") and switch topics gracefully.
Secret #4 -- Dress for success.
This is a different take on another reliable piece of classic business information. If you are wearing things to work that make you feel fat, old, frumpy or just uncomfortable, you are unwittingly causing yourself a bad day at work.
We are directly influenced by how we feel about ourselves... including our physical appearance. You really only need five outfits. I know this flies in the face of every high school's popularity criteria, but it's true. Instead of trying to look like you have on a new set of clothes every week, just jazz up the one that fits perfectly -- and looks great on you -- with a scarf, earrings, different tie... you know the drill.
Secret #5 -- The workplace is just an adult's playground.
Keep in mind that we are all 7th graders in our hearts. The workplace is just the schoolyard for adults. There will always be the Bully, the Nerd and the Show-Off. Maybe more importantly, there will also be the New Kid, the Scaredy Cat, and the Valedictorian. To turn around your bad day, get to know these last three "kids" in your department.
The first two (New Kid, Scaredy Cat) will make you feel really great for helping out a frightened kid in a big person's body; the Valedictorian is your second chance to get some great tutoring (mentoring) from the co-worker who really seems to be climbing the career ladder (especially if your ladder seems to be propped up against the wrong wall!). So take the new kid or the planning whiz to lunch or ask her to join your table at the next meeting.
The payoff to these small acts of courage and kindness will be a lot less stress---and a better day at work.
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Individualism and diversity have been demanded for many years. Some people want to float. Others want to sit. A sofa is often either-or, but not Cocoon. Here is a cornucopia of both worlds. In your safe and solid cocoon frame, you have a gigantic toy box with triangular cushions, lumbar bolsters, main cushions, armrests, neck bolsters - in fact, cushions of all sizes and shapes. This method allows you to determine the degree of comfort yourself, and at the same time be able to have great fun building and being in the sofa.
Cocoon supports you all the way around. Primarily with its high back, but also the seats, which feature Eilersen's renowned down top, giving both firmness and softness at the same time. Here's a little recommendation for you when you design your Cocoon: buy cushions and elements in different fabric design when you choose your sofa's style. That will give you a truly unique cocoon.


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Trade-A-Plane Blog - Aviation News & Information… | Press Releases | Garmin International | Garmin® Is Recognized With Two Supplier of the…
Garmin® Is Recognized With Two Supplier of the Year Awards from Embraer
OLATHE, Kan. /November 10, 2015/Business Wire — Garmin International Inc., a unit of Garmin Ltd. (NASDAQ: GRMN), today announced that it received two major supplier awards at the 2015 Embraer Suppliers Conference recently conducted at Embraer's facility in São José dos Campos, Brazil. Garmin was named Supplier of the Year pertaining to the support of the G1000® Prodigy and G3000™ Prodigy Touch Integrated Flight Decks in two categories: Material Support to Operations and Electro – Electrical Systems. Since 2010, Garmin has received a total of six awards from Embraer among various categories. The annual Embraer awards ceremony recognizes suppliers' achievements relative to innovation, quality and reliability of the products and services provided to Embraer.
"We are honored to be selected by Embraer to receive two Supplier of the Year awards among hundreds upon hundreds of other suppliers and to be recognized for our company's outstanding level of service and commitment," said Carl Wolf, vice president of aviation marketing and sales. "At Garmin, we are determined to provide our aircraft manufacturing partners with the most innovative avionics solutions, which are backed by the best support in the industry. These awards are a testament to the hard work and dedication provided by the entire Garmin team."
As part of the 2015 Embraer Awards, Garmin was recognized as the Supplier of the Year within the Material Support to Operations category. This award acknowledges the supply chain efforts as it relates to supporting Embraer with the G1000 Prodigy and G3000 Prodigy Touch Integrated Flight Decks in the Phenom 100 and Phenom 300 respectively. This category highlights product quality, reliability and ontime product delivery performance, as well as aftermarket support in those same key areas.
Garmin also received top honors as Supplier of the Year in the Electro – Electrical Systems category. This category emphasizes design innovation, user-interface and overall system architecture, as well as outstanding efforts among production line support, quality and on-time reliability of the supply chain. This award further highlights Garmin's achievement in designing and manufacturing state-of-the-art flight deck systems while being sensitive to market needs and preferences.
These two awards join several previous Embraer Supplier of the Year awards won by Garmin in the following categories:
• 2014: Material Support – Aftermarket
• 2011: Electro – Electrical Systems
• 2011: Technical Support to Operators
Supplier of the Year recipients undergo stringent evaluation and are recognized as having shown outstanding performance, continuous improvement and increased customer satisfaction among all other suppliers and their respective categories. Only nine award categories are presented for Embraer's entire aircraft portfolio, including Executive Aviation, Defense and Commercial Aircraft. Suppliers are considered among several attributes, including innovation, delivery, quality, reliability, flexibility and customer support.
Garmin's aviation business segment is a leading provider of solutions to OEM, aftermarket, military and government customers. Garmin's portfolio includes navigation, communication, flight control, hazard avoidance, an expansive suite of ADS-B solutions and other products and services that are known for innovation, reliability, and value. For more information about Garmin's full line of avionics, go to www.garmin.com/aviation.
For more than 25 years, Garmin has pioneered new GPS navigation and wireless devices and applications that are designed for people who live an active lifestyle. Garmin serves five primary business units, including automotive, aviation, fitness, marine, and outdoor recreation. For more information, visit Garmin's virtual pressroom at garmin.com/newsroom, contact the Media Relations department at 913- 397-8200, or follow us at facebook.com/garmin, twitter.com/garmin, or youtube.com/garmin.
About Garmin
Garmin International Inc. is a subsidiary of Garmin Ltd. (Nasdaq: GRMN). Garmin Ltd. is incorporated in Switzerland, and its principal subsidiaries are located in the United States, Taiwan and the United Kingdom. Garmin and G1000 are registered trademarks and G3000 is a trademark of Garmin Ltd. or its subsidiaries. All other brands, product names, company names, trademarks and service marks are the properties of their respective owners. All rights reserved.
About Embraer
Embraer S.A. (NYSE: ERJ; BM&FBOVESPA: EMBR3) is the world's largest manufacturer of commercial jets up to 130 seats, and one of Brazil's leading exporters. Embraer's headquarters are located in São José dos Campos, São Paulo, and it has offices, industrial operations and customer service facilities in Brazil, China, France, Portugal, Singapore, and the U.S. Founded in 1969, the Company designs, develops, manufactures and sells aircraft and systems for the commercial aviation, executive aviation, and defense and security segments. It also provides after sales support and services to customers worldwide. For more information, please visit www.embraer.com.br.
Garmin International, Press Releases
Embraer, Garmin
Piper M600 Mockup On Display at NBAA2015
THE ORIGINAL FUEL STOP – AVAILABLE AT AIRCRAFT SPRUCE

redpajama_set_name: RedPajamaCommonCrawl


Here are the finalists for the Caller-Times HS Athlete of the Week, from Carroll, Alice, London, Aransas Pass, Ray, Vets, Calallen and Moody.
Flour Bluff senior swimmer Alex Wallett was the winner for January 14-19.
• Kiah Barron, Carroll girls basketball player — Scored 11 points and hit the game-winning layup at the buzzer as the Tigers upset No. 5 Veterans Memorial.
• Tayler Blum, Alice girls basketball player — Scored 17 points in a win over Calallen and 25 in a win over Laredo Cigarroa.
• Hannah Cazalas, London girls basketball player — Scored 27 points and hit six 3-pointers in a District 31-3A win over Hebbronville.
• James Crawford, Aransas Pass boys basketball player — Scored 20 points in a win over George West and 20 points in a win over Goliad in District 29-3A play.
• Jamil Gonzalez, Ray boys wrestler — Won the 106-pound class at a dual with Veterans Memorial and won the division at the Top Gun Tournament at Veterans Memorial.
• Ethan Martinez, Calallen boys basketball player — Score 18 points in a win over Gregory-Portland and 20 points in leading the Wildcats past Alice in District 29-5A play.
• Karina Rubio, Moody girls soccer player — Rubio scored five goals in a 6-0 win over Miller in District 30-5A play.
Flour Bluff's Alex Wallett won the voting for the Caller-Times High School Athlete of the Week for Jan. 14-19.
Wallett was named the District 30-5A Boys Swimmer of the Meet after winning the 50-yard freestyle, 100 butterfly and swimming one leg of the Hornets' 200 medley relay and the 400 freestlye relay, both which finished first.
The Hornets swimmer set three District 30-5A records in his four races and will compete Feb. 1-2 at the Region VIII-5A meet at CCISD Natatorium.
Future plans: Attend Texas A&M to study business.
Is regionals a tough meet for you, when everyone else is tapering and you are holding off for state? It is a little difficult. Coach is confident in my skill, which makes me confident that I will do what needs to be done to make it to state. I'm not too, too nervous, but yeah it is a little frightening.
When did you start swimming? I started swimming when I was 9 or 10. I started off club swimming and in seventh grade I joined the school team. Honestly, I've just been swimming since then.
Has there ever been another sport, or has it always been swimming? I tried track for a little bit, like seventh grade, but other than that it has just been swimming.
How much did family play into you starting to swim? My sisters were doing gymnastics and I was the first to start swimming. Off of me, my parents liked the sport a lot and they convinced my sisters to start swimming. We pretty much started swimming at the same time?
In the middle of the busiest part of the season, how much are you in the water? A lot. At least two hours every morning and three out of five days of the week, I am in for another hour and a half. It is a busy day along with school. It is worth it.
Outside of the pool and schoolwork, how do you spend your time? I like reading, I like kayaking, I like running. I like eating a lot. I have a canal in my backyard, so I swim a lot in my free time. I watch TV, just casual stuff.
How long have you been kayaking? My parents bought me a kayak when I was 12. One year I went on a trip to the Great Lakes and got to canoe and go kayaking.
You also played chess? Yeah, we were doing that just before we started swimming. I got to a certain point where it didn't interest me enough anymore and I grew out of it.
You said you like to eat. What is your favorite food? I go to Whataburger a lot.
What do you order at Whataburger? Large fries. Every time and maybe a medium malt.
What are your plans next year? I've already received admission to Texas A&M and I want to study business. I am hoping to be able to walk on or sign with the swim team. I have to drop a little more time for them to be really interested.
You won a medal at state last year. What is left to accomplish? Hopefully medal again. I want to aim higher, so first or second. I also want our team to get at least top eight or medal in the relay. That would be a great way to end my senior year.


In late 2015, Sarah Kennel came aboard as The Byrne Family Curator of Photography at the Peabody Essex Museum (PEM) in Salem, Massachusetts. She is co-curator of this summer's blockbuster Sally Mann exhibit, "A Thousand Crossings", along with her former boss at the National Gallery of Art in Washington, D.C., Sarah Greenough. The PEM is no ordinary museum and Kennel brings a special blend of talent and experience to her role at a time of expansion for this North Shore gem, noted for its celebrated collections related to the history of maritime trade. Please join me in discovering Sarah's photographic passions and exciting curatorial aspirations for PEM's unique photographic archive.
Sarah Kennel, Byrne Family Curator of Photography at the Peabody Essex Museum in Salem, Massachusetts (photo by Kathy Tarantola, courtesy of the Peabody Essex Museum).
I never set out to be a photography curator. I love art history and followed that path from college to a fellowship at the National Gallery of Art where I had the opportunity to work on projects with different curators. Later, I landed a post-doctoral fellowship that was split between the Departments of Photographs and French Painting. A few months into my fellowship, a job opened up in Photographs and my boss took a chance on me, although there were more highly trained candidates. I started out compiling research files on André Kertész and, although I had a huge learning curve, I was thrilled to work so closely with the artwork. I think photography curators often have a much more intimate relationship to the works we curate; I had full access to our storeroom, where I could rifle through, study and lay out works – it was exciting! Plus, I loved learning a whole alternate history of art through photography.
I am originally from Los Angeles, although I have not lived there since I graduated from high school. Most recently, I lived in Washington, D.C. for nearly 15 years. When the opportunity to lead the Photography Department at the PEM opened up, I jumped at the chance. Moving to this area, so rich in universities and with such a strong community of photographers, has been stimulating.
In 2014, Kennel curated the exhibition Charles Marville: Photographer of Paris. Charles Marville, Rue de la Bûcherie, du cul de sac Saint-Ambroise, 1866-68, albumen print. National Gallery of Art, Horace W. Goldsmith Foundation through Robert and Joyce Menschel.
To succeed, every museum must occupy a unique niche within its local culture. What do you see as the Peabody Essex Museum's special role in the Boston photographic community?
PEM's photography collection, like its other holdings, is truly distinctive and reflects the museum's origins as both a local and global institution, with deep roots in New England history and the larger story of global trade and cultural intersection. Therefore, we don't try to tell the traditional history of photography as a fine art form. Instead, our rich holdings and our interest in bringing contemporary photographers into dialogue with the museum reflects and expands upon photography as a global practice – that is, a window into historical complexity that draws connections between past and present and between different cultures. This is well demonstrated in an exhibit I curated that was on view in the winter of 2016, Samuel F.B. Morse's "Gallery of the Louvre" and the Art of Invention.
Installation view of Samuel F.B. Morse's "Gallery of the Louvre" and the Art of Invention exhibit at the Peabody Essex Museum in Salem, MA, curated by Sarah Kennel in 2016.
How did your new Sally Mann exhibit "A Thousand Crossings" come to the PEM and how does it fit with your curatorial mission at the museum? What are you planning next and what types of photography exhibits are you hoping to bring to the PEM when its building expansion opens in 2019?
A Thousand Crossings was officially launched in 2014, when I was a curator at the National Gallery of Art. I had already met Mann and had been aware of the new work she was making relating to the history of the South and in particular the tintypes she was making in and near the Dismal Swamp area in Southhampton County, Virginia. Around the same time, the National Gallery assumed stewardship of the Corcoran Gallery of Art's collection, which held numerous works by Mann. The opportunity to study these works up close, to think about the new work and the awareness that Mann had not yet been the subject of a major traveling exhibition prompted me to propose this exhibition at the NGA. I recall sending my initial thoughts on the five themes around which exhibition would be organized to Mann, who responded that it aligned closely with the structure and themes of her autobiography, Hold Still, which was in the final stages of editing. So it all fell into place fairly quickly. When I made the decision to come to PEM in 2015, the show became a co-curated and co-organized affair between PEM and the NGA, which I think strengthened it and has allowed PEM to work with a number of really wonderful institutions that are partaking in the extensive tour of the show. I hope that other exhibitions we organize will follow suit and bring PEM's reputation forward as an institution that organizes important photography exhibitions. I'd like to balance major evaluations or re-evaluations of well-known artists like Mann as well as exhibitions that bring lesser-known artists and movements to light.
Sally Mann (American, born 1951) Blackwater 25, 2008-2012, Tintype, Collection of the artist. Image © Sally Mann.
Our upcoming project suggests the ambitions and focus on the photography program: in summer of 2019, we will present a retrospective exhibition on the work of Olivia Parker, a tremendously talented, North Shore-based photographer who has not yet been the subject of this kind of exhibition. In addition to showing the full range of her work to audiences who may only know a little bit of it, the show and catalogue will offer an expanded view of photography in the Boston area in the 1980s and 1990s. Additionally, Parker is one of several really important women photographers working in this area in that period who, I think, have not yet received their full due. I am hoping that the programming around this exhibition will also allow us to explore the evolution of photography in the Boston-area and Parker's influences on many younger artists.
"The City, 2016" from the series Vanishing In Plain Sight by Olivia Parker (courtesy of the artist and Robert Klein Gallery, Boston).
The other two projects on the docket drill down into PEM's holdings, which are filled with unusual and delightful works. The first, slated for summer 2019, is a small, focused show on one–actually two–of our most prized possessions: John Thomson's album Foochow and the River Min, of which PEM possesses two copies (fewer than 10 are known worldwide). I am co-curating this exhibition with Assistant Curator Gordon Wilkins, who has been working very closely with me on exploring and refining the photography collections. We will display our bound and unbound copies along with work by a contemporary Chinese photographer, Luo Dan, who has been heavily influenced by Thomson's work. We are also in the planning stages for a major exhibition on nineteenth-century photography in China, a multi-disciplinary, loan exhibition that will highlight our strong holdings in this area and provide a new lens on Qing dynasty Chinese art and culture. I am so fortunate in that I have been able to bring on board an assistant curator and several really wonderful research assistants for this show who are experts in nineteenth-century photography in China–a small but rapidly growing field.
"The Island Pagoda, 1873" carbon print by John Thomson (United Kingdom, 1827-1921), Courtesy of the Peabody Essex Museum, Salem, MA.
Finally, in 2020, we will open a dedicated gallery for photography in the Safdie building as part of our museum-wide reinstallation of all the collections. This space will allow us to reveal our photography collections over time, whether through thematic or artist-based displays. It will also be a great space for showing recent acquisitions, multi-disciplinary shows that draw from the museums' diverse holdings, or presenting small loan-based exhibitions that nevertheless pack a punch.
I used to joke that being a curator was combining two very different jobs: writing a scholarly book and putting on a Broadway show at the same time! A lot of my work is administrative, trying to coordinate the activities and ambitions of the photography department with other areas in the museum – we are all co-dependent! I also spent the first six months of the job going through boxes and boxes of photographs, trying to get a handle on the collection so I could devise a strategy for growth and display of the collection. The tasks are endless, though: I travel to see works in other collections for upcoming exhibitions, I help write grants to fund conservation, I write acquisition proposals, visit collectors and donors, brainstorm future exhibitions, research and write exhibition catalogs, work interdepartmentally on collaborative projects, and when I can, visit with artists. My favorite part of the job is the privilege of opening a box and discovering an amazing artwork or artist that I previously knew nothing about.
Installation view of an exhibit curated by Sarah Kennel, The Serial Portrait: Photography and Identity in the Past 100 Years, National Gallery of Art, Washington (2012), courtesy National Gallery of Art.
Being too quick to dismiss something as unimportant. Curators are constantly inundated with requests to meet with artists, to consider exhibitions, to accept offers of gifts that may or may not fit our criteria. But once, early on in my career, I got one of those random phone calls from a woman who described some photographs she had from her parents, "pictures of the wild west." I put it off for a long time, assuming these were not terribly important. In fact, they turned out to be Kasebier platinum prints! So, my advice would be to stay humble, be open, trust your instincts but don't make assumptions.
Gertrude Käsebier, Charging Thunder, c. 1900, digital file from glass negative, Library of Congress.
What current trends in photography do you find most inspiring? What do you find most exciting about the Boston photography scene?
We are in an interesting moment in photography in which many artists are returning to some form of the origins of the medium, reflecting on the long history of photography as a light-based, chemical process or rethinking the role of photography as an index of the past, or as a peculiar form of memory. As a curator who adores nineteenth-century photography, I'm enjoying the creative mining of the medium's past. I'm also amazed by how photography is changing, particularly the dramatic shift in modes of circulation. Artists are re-defining photography in our virtual, networked society that lives in a 24/7, global visual culture.
It is particularly exciting to be in Boston after years in Washington, D.C. because of the richness of the photography community here. In addition to a really wonderful network of curators, I have been impressed with how many incredibly talented photographers live, work and teach in the wider Boston region. There are so many museums with robust photography programs – not just the big institutions, but many smaller ones, including all the educational institutions – that are putting up amazing exhibitions and lecture programs with a very thoughtful, intellectual focus. The hardest part is keeping up with it all!
Feature Image: Sarah Kennel, Byrne Family Curator of Photography at Peabody Essex Museum speaks about the Sally Mann exhibit, "A Thousand Crossings" (photo by Elin Spring).
Installation view of "Sally Mann: A Thousand Crossings" at the Peabody Essex Museum (PEM), co-curated by Sarah Kennel, The Byrne Family Curator of Photographs at PEM and Sarah Greenough, Senior Curator of Photographs at National Gallery of Art in Washington, D.C. (Photo by Kathy Tarantola, courtesy of the Peabody Essex Museum).
Great profile, Elin. Very much looking forward to the Morse exhibit and the Sally Mann show.


text:
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We won by HOW many points?
Posted on January 28, 2009 by Sandlapper Spike
The Citadel 70, Samford 45. At Samford.
Just to put that score in perspective, The Citadel last won a road game by 25+ points in 1960, against VMI (76-45). In 1958, the Bulldogs beat the Keydets in Lexington, VA by 32 (86-54).
Other 25+ point road wins since 1940 (games are not listed by home/road in the media guide prior to that year, although it's likely that there was no 25+ point road victory prior to 1940 anyway): Furman in 1951 (62-36); Davidson in 1945 (60-26); and Clemson in 1943 (63-38). All of these games were Southern Conference matchups (yes, Clemson was in the SoCon in 1943).
It's not all that surprising that all of The Citadel's lopsided road victories occurred in conference play, since A) most of the Bulldogs' road games are against conference opponents, and B) a good chunk of The Citadel's out-of-conference road games over the years have come against major-conference teams. The Citadel isn't going to play Piedmont, for example, on the road.
Tangent: of all the games I've seen The Citadel play, Piedmont was the only opponent where I thought, "I could play for that team". I'm not saying I would have started or anything like that…
Let's see, what else about this game is worth noting…Samford missed its last 10 three-pointers as part of its woeful 6-32 night from behind the arc…Samford made no field goals over the last 8:30 of the game, a stretch in which it only attempted two non-three pointers from the field…there were no fast break points for either team according to the "play analysis" stats…The Citadel scored 70 points in only 59 total possessions…John Brown had 12 rebounds despite playing only 15 minutes because of foul trouble, although part of that was having plenty of rebounding opportunities thanks to Samford's poor shooting, not to mention Samford isn't a good rebounding team anyway…10 of the 11 players seeing minutes for Samford had at least one three-point attempt (the one guy who didn't only played three minutes)…Samford had an 80% assist-to-made basket ratio, which is great, except that it only had 15 made baskets…Samford was only called for nine fouls for the entire game.
So The Citadel is now 11-10 overall and 6-4 in the league. The Bulldogs now have a reasonable chance at finishing with a winning record in league play, which hasn't happened since the 2000-01 team finished 9-7 in the conference. It would only be the second winning season in the league for the school since the 1984-85 team went 11-5 in the SoCon.
That 1985 team's 11 wins is the school record for conference victories in a season, and obviously if The Citadel were to have a winning season this year in the league it would at least tie that mark for victories. Of course, the difference is that there are 20 league games this season (which, as I've said before, is ridiculous). Still, a SoCon win is a SoCon win, especially for this program. Imagine if Ed Conroy and co. managed to go 12-8 in the league this season (which as of today is The Citadel's projected conference record by Ken Pomeroy's ratings system). Those 12 wins would equal The Citadel's total number of conference victories from 1946-56, an eleven-year stretch (the school lost 102 SoCon games over that period).
Before I get to the upcoming game, a note of caution. The Citadel has played some good basketball over these last three games, but it's not time to pencil the team into the Final Four just yet. This is the same club that got thumped at home by UC-Davis, and was fortunate to escape a terrible Furman team in OT. It's also the same team that lost earlier this season to Elon, Thursday night's opponent, one of only two league victories for the Phoenix so far this season.
Against Samford, the Bulldogs took advantage of a team that appeared to be leg-weary and could not throw the ball in the ocean in the second half, and while The Citadel played good defense, Samford did get some open looks. Still, I don't want to devalue that performance. Cameron Wells was sensational no matter how poor Samford may have been, and it's worth noting that it was the third straight game The Citadel had outstanding results in defending the three-point shot. Samford, as mentioned above, was 6-32 behind the arc. The College of Charleston was even worse (2-18), and Western Carolina was only 4-15 from three-land. That's an 18.5% three-point shooting percentage for Bulldog opponents over those three games. For league games, The Citadel now leads the SoCon in defending the three (28.4%).
Last season The Citadel allowed opponents to shoot 40.0% from beyond the arc, which was in the bottom 15 nationally. That contributed in a major way to opponents shooting an effective field goal percentage of 51.3%, worst in the entire country. This year the Bulldogs have an OppeFG of 44.5%, a significant improvement, and that percentage is dropping even lower as the season progresses.
Okay, now to the rematch with Elon, which defeated The Citadel 56-54, a game marred in the closing seconds by a shaky shotclock operator. Elon parlayed that win into the start of a three-game winning streak that left it 4-4, 1-1 in league play. Apparently the Phoenix ate some bad turkey over Christmas, however, because since that third consecutive win Elon has lost eight of nine games, the only victory a one-point upset of Chattanooga last Saturday at the Koury Center. Elon is now 5-12 overall and 2-7 in SoCon action. Many of the losses have been competitive — the Phoenix lost at Wofford by three (same as The Citadel), by four to Samford, by four to Navy, and by seven at Western Carolina. There isn't any shame in losing at Davidson by 15, either. However, Elon has also lost by 26 at Maryland (pre-Terp meltdown), by 24 at Appalachian State, and by 17 in a home game against UNC-Greensboro.
The first game between the Phoenix and Bulldogs was a very slowly paced affair (57 possessions for The Citadel) in which Elon won by shooting over 50% from the field (to The Citadel's 42%). The Citadel made only 5 of 21 three-point attempts and went to the foul line only eight times. Interestingly, The Citadel outrebounded Elon 29-23 in that game, noteworthy in particular because rebounding savant John Brown did not play in that game. (Ed Conroy waited until after the new year to unleash Brown on an unsuspecting Southern Conference.)
Elon was 10-14 from the foul line in the game, but that was an anomaly, as it is the conference's worst free throw shooting team (just over 60% in league play). Elon has not shot the ball well in conference action from the field, either. Also, above I discussed The Citadel's improvement in defending the three-ball. Elon is just the opposite, as it has allowed its opponents to shoot a collective 38% from behind the arc, a percentage among the nation's worst and last in the Southern Conference (and in conference games the number is even worse: 41.3%).
These two teams have gone in very different directions since December 6. I expect The Citadel to win the rematch, but it won't be easy. Nothing is ever easy at The Citadel. It will be interesting to see how the Bulldogs play as a solid favorite. I'll also be watching to see what the attendance figures are. Previous attendance for home Thursday conference games: 845 against Georgia Southern on January 8, and 1133 against Western Carolina last week.
I anticipate the trend of rising attendance to continue. I hope the level of play continues to rise as well.
Filed under: Basketball, The Citadel | Tagged: Appalachian State, Cameron Wells, Clemson, College of Charleston, Davidson, Ed Conroy, Elon, Furman, Georgia Southern, John Brown, Ken Pomeroy, Maryland, Navy, Piedmont, Samford, Southern Conference, The Citadel, UC Davis, UNC-Greensboro, UT-Chattanooga, VMI, Western Carolina, Wofford |	Leave a comment »
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Histograms describe distributions of continuous variables, but have limited value for showing details. A boxplot is an alternative. The heart of the image is a box; this represents half of the data, taken in the middle of its range.
The center of the box is the median value of the variable, and the lower and upper ends of the box represent the 25th- and 75th-percentile levels, respectively. Whiskers extend below and above the box, representing the range of the bulk of the data. Points beyond the whiskers are taken to be outliers, highly atypical values (some plots also indicate extremes, which are outliers among outliers).
Boxplots for several groups (such as geographic regions) can be placed side by side on a single graph for easy comparison.
The plots show values for several variables all together on a single plot, with the values for each case connected by line segments. Common combinations stand out from the rest. For example, the figure shows several variables related to cars and fuel consumption.
Many cases share certain values, exactly or approximately, forming dark patterns from the many lines following similar paths across the graph. For example, cases for cars with four cylinders, low displacement, high mileage, and late model years form a very dark and conspicuous pattern.
A gains chart shows you how much a predictive model improves results over random sampling. Some people are more likely to take action (buy a product, vote for a candidate, break the law . . . ) than others. If you know nothing about a group of people, the best you can say is that contacting half of the people will turn up half of those who will take action.
But a predictive model can tell you which people are the best prospects, so you can use the model to pick half (or 10 percent or 60 percent, and so on . . . ) and get more action. How much more?
In the chart, you can see a diagonal line where the x and y values are always the same; this represents what you'd get by selecting prospects at random. The other line represents the model. The difference in y values between the model and the random selection shows how much the model improves your outcome. Read the model line plotted on the chart, and compare it to the line for random sampling.
Lift charts are very similar to gains charts. The key difference is that the data is normalized, so that random sampling is always represented as a value of 1 and model results are shown in proportion to random sampling.


Happening now through January 26, it's time for Sunfest!
Nowhere else in Hampton Roads can you enjoy eleven days of free tanning and incredible specials on high-quality health and beauty services. Sunfest returns to Sundays Blue Box Tanning Resort and it's better than ever!
11 days of FREE tanning at all 18 locations in Hampton Roads!
All tanning lotions are buy one, get one for 50% off!
All memberships are 50% off for the first month!
FIT Wrap, Mystic Tan, and Versaspa services are 25% off!
Don't Forget Blue Bucks Specials!


* Passengers traveling by plane may be faced with hand luggage size reductions by up to 40%, it was announced last week. The new dimensions have not yet been announced, but 50 airlines have agreed in principle, reported German TV channel ZDF. Should the hand luggage not meet the new size guidelines, a charge of $25 may be levied.


Lotto Results 9th January, 2017.
This week's Jackpot, worth €5,000, was not won. The numbers drawn were 13, 22, 23, 30.
The €20 winners were: John O'Connell, c/o Club Rockies; Michael J. McNamara and Thomas McDonagh, both c/o Rock St. Post Office; and Mike Houlihan and Con Barrett, both c/o Carmel O'Neill.


kimeric kreations: The Neutral Zone - new this week & on sale - and a gorgeous cluster to share!
The Neutral Zone - new this week & on sale - and a gorgeous cluster to share!
No, it's not an old rerun of Star Trek, which just happens to be one of my fav shows ever - - when you are 60 years old, you can say that and smile - as well as mean it! As much as I love color, I also enjoy working with neutrals - and adding 'pops' of color to highlight - The Neutral Zone is perfect for this! Filled with 7 shabby solids, 18 beautifully patterned papers and loads of elements, in both neutrals and colors (warms, cools, and fresh) - its now on sale at The Digichick for 30% off. Freebies? Oh, you betcha , starting tonight with a beauty from Olga!
Thanks Olga, a beautiful cluster. I also like the inspiration page you made using the cluster. Kim you have some very talented CT members. I am saving 2 of those pages above as inspiration pages because they are so pretty. This is a fabulous collection. I also love neutrals because they can be used with so much for scrapbooking. Thank again for all you do.


text:
/*
 * User: anna
 * Date: 11-Jun-2010
 */
package com.intellij.execution.junit;

import com.intellij.execution.CantRunException;
import com.intellij.execution.JavaExecutionUtil;
import com.intellij.execution.configurations.JavaParameters;
import com.intellij.execution.configurations.RuntimeConfigurationException;
import com.intellij.execution.configurations.RuntimeConfigurationWarning;
import com.intellij.execution.runners.ExecutionEnvironment;
import com.intellij.execution.util.JavaParametersUtil;
import com.intellij.openapi.module.Module;
import com.intellij.openapi.progress.ProgressIndicator;
import com.intellij.openapi.progress.ProgressManager;
import com.intellij.openapi.progress.Task;
import com.intellij.openapi.progress.impl.BackgroundableProcessIndicator;
import com.intellij.openapi.project.Project;
import com.intellij.openapi.util.text.StringUtil;
import com.intellij.psi.PsiClass;
import com.intellij.psi.PsiElement;
import com.intellij.psi.PsiMethod;
import com.intellij.psi.PsiPackage;
import com.intellij.psi.search.GlobalSearchScope;
import com.intellij.refactoring.listeners.RefactoringElementListener;
import com.intellij.refactoring.listeners.RefactoringElementListenerComposite;
import com.intellij.util.Function;
import com.intellij.util.FunctionUtil;
import org.jetbrains.annotations.NotNull;
import org.jetbrains.annotations.Nullable;

import java.io.IOException;
import java.util.HashSet;
import java.util.LinkedHashSet;
import java.util.Set;

public class TestsPattern extends TestPackage {
  public TestsPattern(final Project project,
                      final JUnitConfiguration configuration,
                      ExecutionEnvironment environment) {
    super(project, configuration, environment);
  }

  @Override
  protected TestClassFilter getClassFilter(JUnitConfiguration.Data data) throws CantRunException {
    return TestClassFilter.create(getSourceScope(), myConfiguration.getConfigurationModule().getModule(), data.getPatternPresentation());
  }

  @Override
  protected String getPackageName(JUnitConfiguration.Data data) throws CantRunException {
    return "";
  }

  @Override
  public Task findTests() {
    final JUnitConfiguration.Data data = myConfiguration.getPersistentData();
    final Project project = myConfiguration.getProject();
    final Set<String> classNames = new HashSet<String>();
    for (String className : data.getPatterns()) {
      final PsiClass psiClass = getTestClass(project, className);
      if (psiClass != null&& JUnitUtil.isTestClass(psiClass)) {
        classNames.add(className);
      }
    }

    if (classNames.size() == data.getPatterns().size()) {
      final SearchForTestsTask task = new SearchForTestsTask(project, "Searching for tests...", true) {
        @Override
        public void run(@NotNull ProgressIndicator indicator) {
          try {
            mySocket = myServerSocket.accept();
            addClassesListToJavaParameters(classNames,
                                           StringUtil.isEmpty(data.METHOD_NAME)
                                           ? FunctionUtil.<String>id()
                                           : new Function<String, String>() {
                                             @Override
                                             public String fun(String className) {
                                               return className;
                                             }
                                           }, "", false, true);
          }
          catch (IOException e) {
            LOG.info(e);
          }
          catch (Throwable e) {
            LOG.error(e);
          }
        }

        @Override
        public void onSuccess() {
          finish();
        }
      };
      mySearchForTestsIndicator = new BackgroundableProcessIndicator(task);
      ProgressManager.getInstance().runProcessWithProgressAsynchronously(task, mySearchForTestsIndicator);
      return task;
    }

    return super.findTests();
  }

  private static PsiClass getTestClass(Project project, String className) {
    return JavaExecutionUtil.findMainClass(project,
                                           (className.contains(",")
                                           ? className.substring(0, className.indexOf(','))
                                           : className).trim(), GlobalSearchScope.allScope(project));
  }

  protected void configureClasspath() throws CantRunException {
    final String jreHome = myConfiguration.isAlternativeJrePathEnabled() ? myConfiguration.getAlternativeJrePath() : null;

    final Module module = myConfiguration.getConfigurationModule().getModule();

    if (module != null) {
      JavaParametersUtil.configureModule(module, myJavaParameters, JavaParameters.JDK_AND_CLASSES_AND_TESTS, jreHome);
    }
    else {
      JavaParametersUtil
        .configureProject(myConfiguration.getProject(), myJavaParameters, JavaParameters.JDK_AND_CLASSES_AND_TESTS, jreHome);
    }
  }

  @Override
  public String suggestActionName() {
    return null;
  }

  @Nullable
  @Override
  public RefactoringElementListener getListener(PsiElement element, JUnitConfiguration configuration) {
    final RefactoringElementListenerComposite composite = new RefactoringElementListenerComposite();
    final JUnitConfiguration.Data data = configuration.getPersistentData();
    final Set<String> patterns = data.getPatterns();
    for (final String pattern : patterns) {
      final PsiClass testClass = getTestClass(configuration.getProject(), pattern.trim());
      if (testClass != null && testClass.equals(element)) {
        final RefactoringElementListener listeners =
          RefactoringListeners.getListeners(testClass, new RefactoringListeners.Accessor<PsiClass>() {
            private String myOldName = testClass.getQualifiedName();
            @Override
            public void setName(String qualifiedName) {
              final Set<String> replaced = new LinkedHashSet<String>();
              for (String currentPattern : patterns) {
                if (myOldName.equals(currentPattern)) {
                  replaced.add(qualifiedName);
                  myOldName = qualifiedName;
                } else {
                  replaced.add(currentPattern);
                }
              }
              patterns.clear();
              patterns.addAll(replaced);
            }

            @Override
            public PsiClass getPsiElement() {
              return testClass;
            }

            @Override
            public void setPsiElement(PsiClass psiElement) {
              if (psiElement == testClass) {
                setName(psiElement.getQualifiedName());
              }
            }
          });
        if (listeners != null) {
          composite.addListener(listeners);
        }
      }
    }
    return composite;
  }

  @Override
  public boolean isConfiguredByElement(JUnitConfiguration configuration,
                                       PsiClass testClass,
                                       PsiMethod testMethod,
                                       PsiPackage testPackage) {
    /*if (testMethod != null && Comparing.strEqual(testMethod.getName(), configuration.getPersistentData().METHOD_NAME)) {
      return true;
    }*/
    return false;
  }

  @Override
  public void checkConfiguration() throws RuntimeConfigurationException {
    final JUnitConfiguration.Data data = myConfiguration.getPersistentData();
    final Set<String> patterns = data.getPatterns();
    if (patterns.isEmpty()) {
      throw new RuntimeConfigurationWarning("No pattern selected");
    }
    final GlobalSearchScope searchScope = GlobalSearchScope.allScope(myConfiguration.getProject());
    for (String pattern : patterns) {
      final String className = pattern.contains(",") ? StringUtil.getPackageName(pattern, ',') : pattern;
      final PsiClass psiClass = JavaExecutionUtil.findMainClass(myConfiguration.getProject(), className, searchScope);
      if (psiClass != null && !JUnitUtil.isTestClass(psiClass)) {
        throw new RuntimeConfigurationWarning("Class " + className + " not a test");
      }
    }
  }
}

redpajama_set_name: RedPajamaGithub


text:
Round Table to learn about Civil War deserter
Contributed article
CASWELL BEACH -- Unlike any other Civil War topic previously presented at Brunswick Civil War Round Table meetings, the incredibly emotional story of Private John Futch and his desertion from the Confederate army will captivate those who attend the Tuesday, Dec. 4, meeting at Hatch Auditorium on Caswell Beach.
The guest speaker is Peter S. Carmichael, Ph.D., one of the nation's foremost authorities on the American Civil War. His topic: "Tracking down a Confederate Deserter after Gettysburg."
John Futch was a Confederate soldier who served in the 3rd regiment of the North Carolina infantry. He was from New Hanover County when he enlisted on Feb. 1, 1862. John and his brother Charlie were involved in the fighting on July 2 and 3, 1863, in the unsuccessful attacks on Culp's Hill. During the fighting, Charlie was mortally wounded and died on July 3rd. John Futch's letters home describe his sadness over losing the battle and Charlie's death.
On Aug. 20, 1863, John and 12 other soldiers from the 3rd North Carolina decided they'd had enough of war. That evening they escaped into the woods. They were captured five days later by a squad from the 46th North Carolina and were executed in front of the men from their regiment, a lesson about the risks of desertion.
Carmichael will focus on the written words of John Futch. Though he was illiterate, he left a remarkable set of letters that he dictated to his comrades. Futch's powerful story puts us in the shoes of a deserter, enabling us to see his world after the devastating defeat in the Battle of Gettysburg.
Carmichael is the Robert C. Fluhrer Professor of Civil War Studies and the director of the Civil War Institute, Gettysburg College.
Everyone is invited to attend. As a reminder, the G.V. Barbee Bridge to Oak Island is closed, so take the Swain's Cut Bridge, and then turn left on Oak Island Drive to Caswell Beach. Registration and refreshments begin at 6:15 p.m. The program starts at 7. The visitor fee is $10, and can be applied toward the $25 annual membership dues.
For more information, contact president Mike Powell at 910-278-3545 or mikepowell260@gmail.com. The organization's website is Brunswickcivilwarroundtable.com. You can also visit their Facebook page at www.facebook.com/brunswickcivilwarroundtable for interesting facts, comments and updates.
The StarNews welcomes and will consider publishing Your Voice stories contributed by readers, nonprofits and clubs. They should be around 300 words and accompanied by a good-quality photograph. Contact Community News Editor Si Cantwell at 343-2364 or si.cantwell@starnewsonline.com.


text:
import numpy as np
import sys
from distutils.version import LooseVersion

PY3 = sys.version_info[0] >= 3

if PY3: # pragma: no cover
    basestring = str
    unicode_type = str
    bytes_type = bytes
    def iteritems(d):
        return iter(d.items())
    def itervalues(d):
        return iter(d.values())
    range = range
    zip = zip
    from functools import reduce
    import builtins
    from urllib.request import urlretrieve
else: # pragma: no cover
    # Python 2
    basestring = basestring
    unicode_type = unicode
    bytes_type = str
    def iteritems(d):
        return d.iteritems()
    def itervalues(d):
        return d.itervalues()
    range = xrange
    from itertools import izip as zip, imap as map
    reduce = reduce
    import __builtin__ as builtins
    from urllib import urlretrieve

try:
    from cyordereddict import OrderedDict
except ImportError: # pragma: no cover
    try:
        from collections import OrderedDict
    except ImportError:
        from ordereddict import OrderedDict

try:
    # solely for isinstance checks
    import dask.array
    dask_array_type = (dask.array.Array,)
except ImportError: # pragma: no cover
    dask_array_type = ()


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This is a plant I got from Chris Chadwell's distribution in 2015 which was described as M. sp. possibly staintonii but Margaret Thorne has cast doubt on its identity so I'm posting some photos to help clarify it.
It was sown in January 2016, this photo was taken May 2017. It is next to the lettuce at the back with paniculata from the groups distribution in 2015 in the front.
Piggy in the middle is Lingholm from the group's 2015 distribution.
Where are you gardening ? Like Margaret I am impressed at how well your plants look in an open situation alongside the lettuce ! Are you somewhere with cool summers ?
I'm at Consett, North-West Durham which is notorious for its cold weather. I've just checked the elevation of my allotment, its 274m, I live about two mile downhill which is at 185m. I didn't realise there was such a difference (in metres) but its certainly noticeable weatherwise.
This is one of the CCX1519 plants. I must have potted up two together and as its turned out there is a marked difference between them. The blueyer one is more like the rest, the brighter green looks a much more attractive plant.
These aren't the same two I posted in january.
They've all had a hard time of it this winter, 1 of the 9 is a definite gonner & 2 more don't look so happy.
These both look like M. paniculata.
All our monocarpic Meconopsis plants have suffered terribly this winter, as have some of the perennial ones too. There is even more snow forecast for next week, so we are going to cover some of the surviving rosettes.
For once there may be some advantages in growing in Sheffield. Our monocarpic rosette formers have not generally overwintered well in pots in the past, but almost all the 'M. staintonii' (lemon-yellow) have overwintered perfectly in our open frames and those planted earlier in the Botanic Gardens as well as the one in our tiny back garden at home also look fine. I should add that the survival rate of the various Linghilms and various forms of M. baileyi seems very good too so we should have plants available for our special meconopsis sale in June.
The snow we had yesterday, about 2 inches & very wet, has all cleared at home (185m) but is still covering everything around the allotment at 274m.
Checked the mecs at the allotment this morning. Only 5 of the original 9 CCX1519 left, the rest all rotted.
The remaining CCX1519 don't look as if they are going to flower this year, the paniculata next door have big fat flower buds in the centre.
There are now only 3 surviving due to the recent dry weather but they are going to flower after all, much later than the adjacent paniculata from the MG distribution & quite different. The paniculata are almost finished flowering & heve seed pods, I will disbud them when the 1519 show any colour.
The first one has started flowering today. Yellow petals with a purple stigma. The unopened flower buds have a russet colouration to them. My interpretation from the CGW book is that it is paniculata subs. paniculata.
When more flowers open I'll pick one to get a less wobbly photo. All the neighbouring MG paniculata have been deflowered.
The paniculata I have at home from the Hardy Plant Society look similar to the MG ones but have no reds, if seed from the MG or HPS plants is returned for the MG distribution should these be labelled Hort like the napaulensis?
The third one is now flowering. It is taller than the other two & hasn't got the russet colouration.
One of its flowers has a pinkish cast to it.
It was quite breezy today so getting a clear photo was difficult.
This one is definitely producing flowers with a pink cast. They are on the south-facing side of the plamt. Given that there may be a tendency for this plant to produce such flowers is the sun enhancing the effect similar to rosier apples?
Many thanks for posting the photos now that your plants are in flower. The leaves of the plants which have survived and flowered look like Meconopsis paniculata. The pinkish flowers are likely to be as a result of hybridisation between M. paniculata and a red flowered species, either M. staintonii or M. wallichii var fusco-purpurea (depending where the seed was collected, if it is indeed of wild origin).
If these plants set seed and you donate it to the exchange, the proper name of the parent plant is now Meconopsis x complexa, in recognition of the fact it is of hybrid origin. Obviously the parentage is not entirely clear but is very likely to involve M. paniculata and highly unlikely to have involved true M. napaulensis. When donating seed to the exchange it is always a good idea to include all the information you know about it, but also to be selective with the seed and not to send anything which might be judged as not worth growing!
If you donate seed of M. paniculata, it would be wise to do so only from plants which you are reasonably confident could not have been pollinated by M. x complexa (or any other of the evergreen monocarpic group species or hybrids).
This year I have flowered robustly healthy 'M. paniculata' plants which have produced virtually no fertile seed. These were grown from seed of cultivated origin which I now suspect might have been hybridised. In a separate part of the garden, M. paniculata plants grown from wild collected seed have produced seed as normal. We have lost so many species from cultivation through hybridisation that it is worth the effort to conserve those we still have.
Just to summarise, the seed was from Chris Chadwell's distribution from his expedition in 2015 and as such I assumed it was wild collected. He didn't allocate any collection numbers that year. I received two packets of meconopsis labelled sp. & ?staintonii which I arbitrarily labelled CCX1518 & CCX1519. Only the CCX1519 germinated of which 9 survived to plant out and 3 to flower.
The centre one had pinkish flowers & little of the ginger bristles on the other two. When they started to flower I removed all the flowers on the paniculata behind them (from the MG distribution in 2015/2016) to prevent cross-pollination. I am not very optimistic about getting any seed from them, the LH one has now blown over.
I have now tried to collect anything that was in the seed pods which were very small, (only about the size of a pea), it was mainly dust. There appears to be some seeds which seem small & difficult to separate from the dust, whether they are viable remains to be seen.
One plant has regrown, I don't know from what. I'll try to give it some shelter this winter & see what happens next year.


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text:
photobymoon.co.uk
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Rye – miasto w Anglii, w hrabstwie East Sussex, w dystrykcie Rother. Leży nad rzeką Rother, 86 km na południowy wschód od Londynu. W 2007 miasto liczyło 4108 mieszkańców.

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redpajama_set_name: RedPajamaWikipedia


text:
Drumbo (Irish derived place name, Droim Bó meaning 'The Hill-Ridge of the Cows'.) is a townland in the civil parish of Kildallan, barony of Tullyhunco, County Cavan, Ireland.

Geography

Drumbo is bounded on the north by Feugh (Bishops) townland, on the west by Drumbagh and Drummully West townlands, on the south by Drummully East townland and on the east by Gorteen (Gorteenagarry) townland. Its chief geographical features are small streams and a well. Drumbo is traversed by the local L5503 road, minor public roads and rural lanes. The townland covers 157 acres.

History

From medieval times up to the early 1600s, the land belonged to the McKiernan Clan.

The 1609 Plantation of Ulster Map depicts the townland as Drombo. A government grant of 1610 spells the name as Drombo. A 1629 Inquisition spells the name as Drombo and Dromboe.

In the Plantation of Ulster King James VI and I by grant dated 23 July 1610 granted the Manor of Clonyn or Taghleagh, which included  one poll of Drombo, to Sir Alexander Hamilton of Innerwick, Scotland. On 29 July 1611 Arthur Chichester, 1st Baron Chichester and others reported that- . An Inquisition held at Cavan on 10 June 1629 stated that the  poll of Drombo contained four sub-divisions named Shanwillebanne, Coultubber, Achininvekille and Achinnebrouke. It also described the boundary of the townland as- .

In the Hearth Money Rolls compiled on 29 September 1663 there was one Hearth Tax payer in Drombo- James Moore.

The 1790 Cavan Carvaghs list spells the townland name as Drumboe.

The 1825 Tithe Applotment Books list ten tithepayers in the townland.

In 1832 one person in Drumboe was registered as a keeper of weapons- Joshua Finlay who had one gun and one pistol.

The Drumbo Valuation Office books are available for April 1838.

Griffith's Valuation of 1857 lists eleven landholders in the townland.

The landlord of Drumbo in the 19th century was Hugh Wallace.

Census

In the 1901 census of Ireland, there were six families listed in the townland.

In the 1911 census of Ireland, there were seven families listed in the townland.

Antiquities

 A holy well call Tobar Patrick (St. Patrick's Well). The townland sub-division Coultubber means the 'Corner of the Well'. The Archaeological Survey of County Cavan states- Marked on all OS eds. Dense growth of vegetation precluded investigation of the site. Situated in low-lying ground adjacent to a stream. The 1937 Dúchas folklore  collection states- Tobar Padraig. This well is situated between the townlands of Drumbo and Drummully, Killeshandra, Co. Cavan, and in the parish of Kildallon. It is situated on the left hand side of the road leading from Glasstown to Drummully. It is at a place called the "Broad Slap" near the Drumbagh road. It is partly surrounded by a thick hedge of large bushes. There is an opening to the well from the road. There are ten steps leading down to it. The water has covered two of them. The well is about five feet deep, and six feet wide. It never goes dry. The water is coming from the rock, at the back of the well. St. Patrick is the Saint connected with it. It is said that he shook his staff at it while he was passing. It is also said that a mass was celebrated at the rock, during the Penal Days. There used to be rounds and prayers done at it long ago. At first, the well was on the opposite side of the road. It is said that a woman washed her feet in this well, and that it dried up. Another well burst forth where the well is at present. It is said that there was a cure for rheumatism, and other pains in it. There is the trace of an altar on a rock near the well.

References

External links
 The IreAtlas Townland Data Base

Townlands of County Cavan


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