As you probably know, Apple is one of those companies that show interest in the development of virtual reality technologies. Over the past few years, the guys from Cupertino have filed a number of patents related to all kinds of virtual reality gear. Apple is an inventor of the 3-D viewing headset similar to the Oculus Rift, moreover, it possesses other technical documentation required for creation of virtual reality devices. But why haven't we seen any gadget from Apple so far? Let's find out.
Apple Planning 'Biggest Camera Jump Ever'?
According to what Daring Fireball's analyst John Gruber told in his recent podcast called The Talk Show, next year Apple may demonstrate the "biggest camera jump ever" in the history of the company and its iPhone lineup. Citing sources familiar with the matter, he says that the guys from Cupertino are currently working on major improvements for the photo-sensor of the next-generation flagship device.
According to the latest reports from U.S. retailers, the customers show strong interest in the recently-launched payments service created by the guys from Cupertino. This doesn't mean that the number of users of the new system is currently immense; still, it is noticeably larger than the amount of people who adopted similar services from Google or other companies in the first weeks after their launch.
A new piece of malicious software that affects iOS devices has been recently discovered by the security researchers from FireEye. The malware is called Masque Attack and it can replace the legitimate apps you have installed on your device with their malicious copies. These copies look so similar to the trustworthy apps that it is nearly impossible for an average user to notice his or her device has been infected.
Apple on Tuesday released a candidate golden master version of OS X Yosemite and a fourth public beta of OS X Yosemite to developers and the users registered in the public beta-testing program. Tuesday's releases come two weeks after the releases of previous Yosemite betas that contained numerous bug fixes, design tweaks and other improvements.
iPhone 6 and iPhone 6 Plus Are Equipped with Two Accelerometers?
According to the results of a complex iPhone 6 and iPhone 6 Plus teardown performed by Chipworks, the guys from Cupertino have equipped their new handsets with two separate accelerometers. Such a decision is probably caused by the desire to reduce the power consumption of the devices and to improve the user experience. Whether it is a successful one or not we shall see very soon, after the product launch euphoria ends.
More than ten million people have already purchased Apple's iPhone 6 or iPhone 6 Plus. Naturally, they began using their new smartphones. Several days after the official release, a number of reports appeared on the Internet that suggested that the larger 5.5-inch device can bend in the pocket of pants if a user forgets to take the handset out of it. There are even some images showing a bent iPhone 6 Plus. You may take a look at them below.
Immediately after the start of sales of the iPhone 6 and iPhone 6 Plus in several countries, first drop and crash tests began to appear on the Internet. The bad news is that both handsets are not doing well in these ultimate durability tests. While they somehow manage to remain intact when dropped on the side and back, they have no chances when dropped on the face. The smaller iPhone seems to demonstrate slightly better results, but in general, both handsets can't be called the strongest devices on the market. Take a look at the video and you will understand what I mean.


Fancy a fortune of £32m that could make you live like a royal (at least for a while).
Well, this regal sum could be yours if the odds go in your favour and you are the sole ticket holder with tonight's winning EuroMillions numbers.
You could hire a carriage, the best dresses, put on a fancy ball and not have to work.
The £32m jackpot is up for grabs in the pan-European lottery draw that will be made at around 8.30pm tonight.


text:
Chicago Entertainment
So During The Pandemic, What Have You Been Streaming Online?
A sculptor might piece together four pieces of steel and name it an impressive creation and a spectacular piece of art. Another would possibly see it as a bit of junk only to be appreciated within the junk yard.
© 8sixtyentertainment 2020 All Rights Reserved.
And if we suppressed material based mostly on the actions of unstable people, no work of fiction or artwork can be protected from censorship. And the work most frequently cited by psychopaths as justification for their acts of violence is the Bible. Today's calls for censorship aren't motivated solely by morality and taste, but also by the widespread perception that exposure to images of violencecauses people to act in harmful methods.
Therefore I gather, that artwork for my part entails a private signature of fashion and whether or not people discover that signature offensive or stunning is but to be seen. But if artwork is offensive and it catches ones attention and retains them wanting more and more, than offensive may enter into entertaining and amusing. The Supreme Court's current definition of constitutionally unprotected Obscenity, first introduced in a 1973 case calledMiller v. California, has three requirements. The work must 1) appeal to the common person's prurient curiosity in sex; 2) depict sexual conduct in a "patently offensive means" as defined by group requirements; and 3) taken as an entire, lack critical literary, creative, political, or scientific worth.
Pro-censorship forces, including many politicians, usually cite a multitude of "scientific research" that allegedly show fictional violence leads to real-life violence. On the opposite hand, the dedication to freedom of imagination and expression is deeply embedded in our nationwide psyche, buttressed by the First Amendment, and supported by a long line of Supreme Court choices.
Justice John Marshall Harlan's line, "one man's vulgarity is another's lyric," sums up the impossibility of developing a definition of obscenity that isn't hopelessly obscure and subjective. Does exposure to media violence actually lead to legal or anti-social conduct by otherwise stable individuals, including youngsters, who spend a median of 28 hours watching tv each week? If there really have been a clear cause-and-impact relationship between what regular children see on TV and harmful actions, then limits on such expression might arguably be warranted. There is, in fact, nearly no evidence that fictional violence causes in any other case secure people to turn into violent.
Art evokes a feeling that one has as soon as skilled, after which transmits that feeling to others through forms, colours, sounds and movements. Art isn't at all times pleasurable for the attention of the beholder however a method of unity among people, becoming a member of them collectively in the same feeling.
TAGS: chicago, entertainment

redpajama_set_name: RedPajamaCommonCrawl


text:
The examinations on the driving license on the new ticket: what will change
March 14, 2017 IMMPolitics
This year Ukrainian drivers can pass the theoretical exams for driver's license for new tickets. The other day in the Main service center (GSC), Ministry of internal Affairs presented on its website a test version of the new system of exams to receive the rights. According to the head of GSC Vladislav Cricle, the purpose of innovation is to remove irrelevant questions from the existing tickets and make the exams transparent. Today everyone can take a "trial" test, but also to Express their wishes to the tickets. Wishes will be collected until April, and in mid-summer, the system can earn. "Today" has tested the new.
THE MAIN INNOVATIONS. As explained to "Today" in a press-service of GSC, trained 2,500 questions covering all categories of drivers from the "tail" of scooters and motorcycles to drivers of heavy vehicles. The first innovation — the questions are divided into categories. For example, someone who is going to control the car, not going to ask, what is the maximum speed allowed to drive the truck. That is, the questions for the driver of the car will be only on the control car.
In addition, a list of 20 questions will be generated by the system randomly. If the examinee incorrectly answering one of the critical issues (for example, rules of journey of intersections), the system in the future will choose him questions on this topic. And third in the second stage of the reform of GSC is going to introduce a video and photographs of the exams for the transparency of the process.
Recall that the reform ticket has been prepared in SAI, but did not appear because of the high cost and resistance of examiners-corruption. "Students of driving schools will not be able to memorize the answers, not really knowing traffic rules. Due to the fact that now not, have very negative consequences on the roads," said Crickley us.
According to the press service of GSC already received about 3,000 requests. Most people while asking more specific questions and answers. In GSTS promise that it will be done. But changes in traffic — for example, allow to go to the city as fast as 60 km/h or to Park right next to the corner due to lack of space (allowed not closer than 10 metres), is unlikely to make.
Head of GSC Vladislav Crickley answered a few exclusive questions from "Today" about the new system of exams to future drivers.
1. When can be entered for new tickets?
– Tickets will be launched in early summer. As stated earlier, we need three months from the beginning of public discussion. Such an open online discussion takes place for the first time in Ukraine. The month will be the collection of incoming information and analysis of the proposals. After the tickets are finalized and technically implemented in the service centers.
2. Will there be a transitional period for those who were trained under the old tickets?
– We don't change the rules of the road, so there is no need. We are changing only the questions to test theoretical knowledge, the purpose of which is to help the citizens-to exclude illogical questions and to classify. Previously taught tickets, and we also in the new format required subject knowledge, not memorized tickets. Nothing new, but to learn specific ticket will not work.
3. Is it possible (or will be) to see a list of all 2500 questions?
– All questions we do not give. We will not allow the monopoly of publishers as before. and at the same time don't want to market prematurely got the exam questions correctly. We have more than 3000 suggestions and comments that we analyzed.
4. What kind of suggestions readers can be taken into account? For example: more accurate phrasing of the question. Or change any article of the traffic regulations (speed limits, stopping and Parking, etc.).
– Suggestions/comments can address the issue, his ornate language, responses, or graphic content, if there is a picture in the question.
EXPERTS. Experts on transport see as the pros and cons of the new system. "Categorization of questions will help the exam because the examinee does not need to remember the extra information, not related to your car, but really difficult to memorize the tickets," — said the expert auto Constantine Kinburn. But an expert on transport Alexander Kava did not see much point in innovation: "the Driver of the car is still worth to know the length of the truck, in order to assess the possibility of safe overtaking, but the new tickets that may not be. And transparent exams will when will introduce her video online. Without this, any innovation is useless".
Check from "Today"
"Today" has tested: test online exam in the SDA works well, but the issues it has. We chose the most popular category on — for drivers of cars and try to pass the exam. Alas, despite assurances from GSC about "categorization", we got questions about what tractors and trucks can drive in pedestrian zones, at what age are taught to ride a motorcycle and how to behave as a regular bus driver, drove away from the stop. In GSC we have explained that the system is working in test mode, therefore, can cover several categories: not only "In" and "A" (motorcycles). Promise that in the working version it will not.
Doctors told, who needs to lean on carrots
Trump has completely destroyed the reputation of Putin – Gazeta Wyborcza
Ukraine has reduced the consumption of pork
Scientists told how to learn about the health of the eyes
72nd anniversary of the atomic bombing: to go back to basics and ban nuclear weapons
Le Pen arrived in Moscow in search of money – media
The Cabinet has continued the program "warm loans"
Czech elves Ukraine
Kissed Putin, the Russian patriot received the American green card
Politicization — the cause of economic and trade disputes between China and America


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Effects of fire on the structure and composition of open eucalypt forests
RICKY-JOHN SPENCER1,2* AND GREGORY S. BAXTER1
1 Fraser Island Fire Ecology Group (FIFEG), School of Natural and Rural Systems Management, University of Queensland, Gatton, Qld 4343, Australia (Email: )
2 Pestat Ltd. LPO Box 5055, University of Canberra, Bruce, ACT 2617, Australia
Fires are integral to the healthy functioning of most ecosystems and are often poorly understood in policy and management, however, the relationship between floristic composition and habitat structure is intrinsically linked, particularly after fire. The aim of this study was to test whether the variability of habitat structure or floristic composition and abundance in forests at a regional scale can be explained in terms of fire frequency using historical data and experimental prescribed burns. We tested this hypothesis in open eucalypt forests of Fraser Island off the east coast of Australia. Fraser Island dunes show progressive stages in plant succession as access to nutrients decreases across the Island. We found that fire frequency was not a good predictor of floristic composition or abundance across dune systems; rather, its affects were dune specific. In contrast, habitat structure was strongly influenced by fire frequency, independent of dune system. A dense understorey occurred in frequently burnt areas, whereas infrequently burnt areas had a more even distribution of plant heights. Plant communities returned to pre-burn levels of composition and abundances within 6 months of a fire and frequently burnt areas were dominated by early successional species of plant. These ecosystems were characterized by low diversity and frequently burnt areas on the east coast were dominated by Pteridium. Greater midstorey canopy cover in low frequency areas reduces light penetration and allows other species to compete more effectively with Pteridium. Our results strongly indicate that frequent fires on the Island have resulted in a decrease in relative diversity through dominance of several species. Prescribed fire represents a powerful management tool to shape habitat structure and complexity of Fraser Island forests.


text:
Explore Bonneau Ferry
A single automobile inching down Bonneau Ferry Road will set wild turkeys to scurrying, quail on the wing and snowy waterfowl to lift off like a sheet being pulled from the surface of Nimitz Lake.
Secondary clay arteries intersect Bonneau Ferry Road, coursing through the pine forests and wetlands, often narrowing to the width of a midsized sedan, winding over culverts and past dammed ponds and streams.
Roads that prohibit motorized vehicles are easily explored on foot; black-headed fox squirrels leap into the brush as visitors approach. Hoof prints in the freshly turned earth suggest larger game had been through recently.
Curious hikers and birders can freely wander nearly all of the 11,000 acres of Bonneau Ferry Wildlife Management Area to their hearts' content.
It hasn't been so very long since Bonneau Ferry was transferred from land management group MeadWestvaco into the care of the state Department of Natural Resources. Completed in 2005, the transfer meant travelers with varied interests would have yet another wonderful outdoor destination to explore and enjoy.
Bonneau Ferry's hardwood bottomland and lakes are homes to abundant wildlife that attract hunters roughly nine months out of the year. Non-hunters are free to explore when no hunts are scheduled. That generally means on Sundays during hunting season and most anytime from May to the first of September.
For me, Bonneau Ferry WMA is home to other hidden treasures: the ruins of Comingtee -- one of the state's earliest plantation homes, which dates to the early 1700s -- and Stoke, the plantation's rice mill on the west branch of the Cooper River, which dates to the early 1800s. Behind the rice mill, the Cooper River laps at the shore, no doubt in the same way it did when John and Affra Coming arrived from England in the 1680s.
Chains encircling both buildings and signs warn visitors against trespassing, taking away loose bricks or in any other way contributing to the structures' decay. Even as hollowed out shells overgrown with verdant vegetation, Comingtee and Stoke are fascinating emblems of the richness of South Carolina history and the ingenuity of its people.
Bonneau Ferry Wildlife Management Area
305 Black Oak Road
Bonneau, 29431
From Interstate 26 take exit 199. Follow U.S. 17A to Moncks Corner. Turn left on U.S. 52. Cross Tailrace Canal, take the first right on S.C. 402 toward Cordesville. Travel 9.1 miles to Bonneau Ferry, which will be on the right (less than one mile past railroad tracks in Cordesville).
This is not a park, strictly speaking, but is open for general use by the public when there are no scheduled hunts. DNR urges visitors to bring drinking water and insect repellent. Parking is available along the road ways but the area has no trash receptacles -- "pack it in, pack it out." And, DNR Zone 6 rules and regulations for hunting and fishing are enforced at Bonneau Ferry.
Weekends at Santee State Park
Fishing Trips at Santee State Park


Our client is a top tier investment bank with about USD 2.5 trillion AUM. They operate in 35 countries globally and have about 7000 employees in APAC. They are currently looking for a trade matching officer to cover for a colleague going on maternity.
To be successful in this role, you would need at least 2 years operations experience in the banking and finance industry with a good understanding of the trade lifecycle. You would also need to be highly analytical and work well under pressure. Experience in cash equity products will be an added advantage.


The importance of good nutrition program or a diet plan cannot be emphasized enough, not just for ordinary people, but especially for athletes. Athletes have a real need of a good nutrition program, as it can make all the difference to their sports performance.
Indeed, the reason why Indian athletes have never been able to reach world class levels of fitness and athletic prowess can be attributed to their poor nutrition program. Nutrition is one of the critical contributors to optimal sports performance, along with genetics and training.
Our bodies are like machines in a lot of ways, and just as you need to put quality fuel into the engine for it to perform well, it is important to give the body some high quality nutrition – otherwise it may not perform the way you would want it to.
In India, there is an urgent need for good sports nutritionists capable of designing sophisticated formal nutrition programs for our athletes. The Rio Olympics 2016 is only a few months away at the time of this writing and it does seem unlikely at this point that our athletes are going to win too many medals in Brazil.
Indian athletes suffer from poor nutritional choices and only a few have access to monitored nutrition programs designed by qualified nutritionists. The fact is athletes have a need for calories that is way higher than that of the average person. They require 2000 to 5000 calories a day. Athletes that don't prioritize nutrition are likely to lag behind in performance as well as health.
A sports nutritionist advises athletes on nutritional programs. He or she should have a perfect understanding of the effects that food have on the human body. Sports nutritionists not only study the type and quantity of food that should be taken by the athlete, but also prepare a list of the organic substances that need to be taken by the athlete competing in a certain sport.
Sports nutritionists develop a comprehensive eating program for athletes, which would balance their intake of proteins, fats and carbohydrates to allow for optimum performance. Sports nutrition is of critical importance for athletes in sports that require strength and endurance such as soccer, hockey, basketball, running and swimming.
In India there is no tradition of people wanting to be sports nutritionists as Indians are not as obsessed with sports as many other countries such as USA, Australia and China. However, this has to change fast, otherwise it is unlikely that our athletes will amount to much at the international stage.
India needs a comprehensive setup in sports, and sports nutritionists are very much a part of that. Typically, sports nutritionists in countries such as the United States and Australia work for colleges and for athletic teams at the Olympic level. They work closely with athletes and design special nutrition plans for them based on their individual body types, training routines and athletic goals.
A sports nutritionist needs to have comprehensive knowledge of not just nutrition, but also sports performance. They must be capable of offering consultation to athletes on their ideal diet as well as to work within the athlete's desired levels of physical conditioning. They should know how to help athletes achieve this optimal performance through dietary measures.
How does one become a sports nutritionist? To become a sports nutritionist, you will need to complete a bachelor's degree program in nutrition, or in a related field. Sports nutritionists who have done their masters in colleges in the U.S., are in high demand in India, especially with sports becoming such a big business in the country.
A sports nutritionist is essentially a problem solver – he or she should be able to think creatively and find unique solutions to the athlete's problems. They must be able to communicate well and explain complex concepts in a simple language, which the athlete has no trouble understanding. They should build a friendly relationship with their clients and be a part of their success story.
Sports academies in India are always in need of qualified sports nutritionists. With the professionalization of cricket and football in the form of leagues such as the Indian Premier League (IPL) and Indian Super League (ISL), there is certainly a plenty of demand for talented sports nutritionists. Even sports like Kabaddi have their own professional leagues in India today.


text:
Q: how can I use window function - difficult case in PostgreSQL I have a table like below:
group    sequence   action
1        1          promotion_1
1        2          promotion_1
1        3          promotion_2
1        4          act1
1        5          act1
1        6          act2
1        7          promotion_1
1        8          act1
1        9          act2
1       10          promotion_1
1       11          act1
2        1          promotion_2
2        2          act1

I would like to create a ranking, which will show range of promotion. So I need to have the same number for promotion and every action after this promotion:
group    sequence   action         parameter
1        1          promotion_1    1
1        2          promotion_1    2
1        3          promotion_2    3
1        4          act1           3
1        5          act1           3
1        6          act2           3
1        7          promotion_1    4
1        8          act1           4
1        9          act2           4
1       10          promotion_1    5
1       11          act1           5
2        1          promotion_2    1
2        2          act1           1

I read about window functions and their possibilities (for example over()), but I can create only ranking with group by "action".

A: select T.*,
       sum(case when action like 'promotion%' then 1 else 0 end)
         over(partition by "group" order by sequence rows unbounded preceding) parameter
  from Table T

A: filter (Starting with PostgeSQL 9.4)
select  *
       ,count (*) filter (where action like 'promotion%') over
        (
            partition by  "group"
            order by      sequence
            rows          unbounded preceding
        )

from    mytable  T

+-------+----------+-------------+-------+
| group | sequence |   action    | count |
+-------+----------+-------------+-------+
|     1 |        1 | promotion_1 |     1 |
|     1 |        2 | promotion_1 |     2 |
|     1 |        3 | promotion_2 |     3 |
|     1 |        4 | act1        |     3 |
|     1 |        5 | act1        |     3 |
|     1 |        6 | act2        |     3 |
|     1 |        7 | promotion_1 |     4 |
|     1 |        8 | act1        |     4 |
|     1 |        9 | act2        |     4 |
|     1 |       10 | promotion_1 |     5 |
|     1 |       11 | act1        |     5 |
|     2 |        1 | promotion_2 |     1 |
|     2 |        2 | act1        |     1 |
+-------+----------+-------------+-------+

redpajama_set_name: RedPajamaStackExchange


text:
"""Functions related to water vapor and its thermodynamic effects

This module contains wrapper functions to perform calculations with pint
quantities.

"""
from typhon import physics

from typhon.physics.units import constants
from typhon.physics.units.common import ureg

__all__ = [
    'density',
]

def density(p, T, R=None):
    """Wrapper around :func:`typhon.physics.thermodynamics.density`.

    Parameters:
        p (Quantity): Pressure.
        T (Quantity): Temperature.
            If magnitude of T and p is ndarray, sizes must match.
        R (Quantity): Gas constant.

    Returns:
        Quantity: Density [kg/m**3].

    """
    if R is None:
        R = constants.gas_constant_dry_air

    # SI conversion
    p = p.to('pascal')
    T = T.to('kelvin')
    R = R.to('joule / kelvin / kilogram')

    ret = physics.thermodynamics.density(
              p.magnitude, T.magnitude, R.magnitude)

    return ret * ureg('kilogram / meter**3')

redpajama_set_name: RedPajamaGithub


text:
Academics and Research / Campus & Community
Newman Center for the Performing Arts celebrates 10 years
When students from the Lamont School of Music began moving into the brand new Robert and Judi Newman Center for the Performing Arts in fall 2002, classical guitar Professor Ricardo Iznaola noticed something interesting.
"The students immediately began to perform better in the new halls," says Iznaola, a Lamont faculty member since 1983. "It's a psychological thing in the performing arts that you live up to the venue. There was an immediate sense of seriousness and excellence transmitted by the building itself."
Ten years later, that building remains a crown jewel of the campus and one of the University's most visible faces to the larger Denver community. Its climate-controlled, wired-for-sound rehearsal studios are a key selling point for music students and faculty. Its Byron Theatre, with more than 40 stage configurations, is home base for DU's theater department. Its concert halls of various sizes make it a favorite rental for local music, dance and theater groups. And the center's very existence gave birth to Newman Center Presents, a concert series that brings international names in classical, jazz, dance, opera, theater and more to campus every year—and often gives Lamont students the opportunity to interact and perform with the visiting artists.
"It was an opportunity to select and bring to the campus and the community this eclectic array of artists from around the world," says Newman Center Executive Director Steve Seifert, who programs the Newman Center Presents series. "From the beginning, we asked ourselves what already exists in the city, because we don't need to re-create something that's already here. We asked, 'What can we do that would add to the cultural fabric of the city?' And the idea of doing a multidisciplinary, multicultural series in the performing arts is what we settled on, with a high component of artists who had never been here before. By the end of our upcoming season, we will have produced 138 different shows, 53 percent of which are by artists who had never appeared in Denver before."
But first and foremost, the Newman Center is home to the faculty and students of the Lamont school, who rehearse in its top-floor practice rooms, perform in its acoustically perfect concert halls and record in its state-of-the-art digital studio.
"I know some other music schools in the area that have seen it and call it the Taj Mahal of music buildings, and that's what we all felt like when we moved in," says Joe Docksey, former director of the school. "All of us just couldn't believe that we were lucky enough to be in the right place at the right time to move in to what probably is the nation's finest music school."
Prior to 2002, the Lamont School of Music was located on DU's Park Hill campus, along with the Sturm College of Law and the Women's College. Then-Chancellor Dan Ritchie had the vision of a united central campus, and Lamont led the charge. (The law school and the Women's College followed in 2002 and 2003, respectively.) Incorporating classic materials such as limestone, travertine marble and sandstone—and modeled after European concert halls—the Newman Center is made up of six individual buildings, each separated from the others by a 2-inch gap that ensures acoustical isolation. It was designed as a music school and performance venue that would stand the test of time, and it's not hard to imagine a 100th anniversary celebration that finds the structure just as impressive as it is today.
"I think what the University did in setting its sights that high and then fulfilling those expectations is a real community service," Seifert says. "It's great for students and faculty—everybody gets to rehearse and play here, and I really do think it draws the best out of them, and they go out into the next phase of their careers with a background that would be really hard to get in a different kind of facility.
"But it's also really great for the community to experience the kind of art that happens here," he continues. "They can hear the difference; they can see the difference; they can connect with the artists in a way you don't in other theaters, and the sense is, 'Really, that's the way it's supposed to be.'"


Three square metres of Arctic sea ice are lost for every ton of carbon dioxide emitted by anyone on our planet, a new study finds.
The rapid shrinking of the Arctic sea ice is the most apparent consequence of global warming, with over half of the sea ice area having been lost in the past 40 years. The Paris agreement on climate change takes effect from this week. But will its targets be sufficient to save the Arctic from an ice-free summer?
To address this question, Dirk Notz from the Max Planck Institute for Metrology and Julienne Stroeve from the National Snow and Ice Data Centre in Colorado analysed carbon dioxide (CO2) emission records as well as climate models.
Their study, published in Science, reveals a linear correlation between the amount of CO2 emitted and the loss of sea ice area, meaning that for each ton of CO2, no matter where on Earth it is emitted, 3 square metres of ice disappear.
"This allows us for the first time to really intuitively grasp our individual contributions to climate change," Notz says.
With a carbon footprint of 10 tons, the average European is responsible for the loss of 30 square metres of Arctic sea ice per year. A trip from London to New York and back costs three square metres.
The retreat of sea ice happens much faster than most climate models predicted, because the previous models underestimate the atmospheric warming in the Arctic. The Arctic sea ice could be preserved if global warming was limited to 1.5 degree Celsius, a target mentioned in the Paris agreement.
But as soon as global warming hits two degrees, the sea ice will be gone.
At the current rate of emissions, ice free arctic summers could already happen in two to three decades.
"It always feels strange to show pictures to my children knowing that once they are my age that might all be gone."
Ice-free arctic summers would pose a threat to the Arctic ecosystem, diminishing the habitat for species like seals or polar bears.
From a climate perspective, the Arctic ice acts as a sunlight mirror to keep the Northern hemisphere cool. "There are a number of studies out there now which suggest that [...] we might observe more extreme weather events for example in central Europe, in the US, in Canada, throughout Russia, simply because the sea ice in the Arctic is disappearing."
On the other hand, a reduced sea ice area opens up new shipping routes and possibly access to oil and gas reserves, which highlights the complexity of the issue involving multiple players with contrasting interests.
Predicting the exact consequences an ice-free Arctic would have is impossible, which is why Notz calls for a significant reduction in CO2 emissions.
"Changing your lifestyle does have an impact, so for example if you drive your car a little bit less or if you fly a little bit less. Knowing how much sea ice this change of lifestyle preserves may be a very strong motivator for people to take action."


Our Pink Pepper scent is a beautiful floral scent that includes notes of Geranium, Muget and Rose with a stand out twist of Pink Pepper. There are also slight hints of Elemi and Ginger adding a slight edge to a classic fragrance.
Our ICONIC candles are hand poured in the UK, using only the best high quality mineral which enhances a long and even burn. Burn time – 40hours.


text:
Home Tesla Model S News
Tesla Model S Plaid Arrives In Europe, Higher Top Speed, Tow Hitch
Via images of the flagship Tesla sedan's Certificate of Conformity, it will have a tow hitch as standard and a 300 km/h top speed.
Nov 15, 2022 at 10:14am ET
The Tesla Model S Plaid has reportedly arrived in Europe, and it seems deliveries have started. This became somewhat clear after new Plaid owners posted various messages and images online. According to Teslarati, Plaid owners in Germany posted images of the Model S' Certificate of Conformity.
A Certificate of Conformity ensures that goods can move across Europe freely. It also has important information about the product. In this case, there are some details about the Euro-spec Model S Plaid that were previously unknown. Assuming it's confirmed that deliveries have actually started and the images are real, we now have information about the Plaid's top speed and towing.
Teslarati found the images of the certificate on a German Tesla forum. The publication credits user s3bbo for posting the images. The owner placed the Model S Plaid order in January 2021 and waited nearly two years to take delivery. We've included the screenshots below:
As you can see based on the extensive information on the second page above, the electric flagship sedan's top speed is listed at 300 km/h, which equates to about 186 mph. While the Model S Plaid is listed on Tesla's website with a 200 mph top speed, the automaker hasn't yet provided a software update to take it to that level.
When the Model S Plaid arrived in the US, its top speed was limited to 163 mph. Later, Tesla upped the top speed to 175 mph with an over-the-air software update. The update came after another software release that added Track Mode.
The European document also shows that the maximum top speed of 322 km/h or 200 mph will require the optional Carbon Ceramic Brake Kit. Teslarati notes that the kit is supposed to be available this fall for $20,000.
Check Out These Tesla Stories For Background:
Tesla Model S And X Available For Order In Europe Year-Long Hiatus
Tesla To Start Refreshed Model S, Model X, Plaid Deliveries In China, Europe
Towing is typically different in Europe than in the US. More specifically, vehicles that aren't officially approved to tow on our shores may be approved overseas. According to the information in the Certificate of Conformity, the Model S Plaid will come standard with a factory tow hitch.
While there is no tow hitch listed for the US version, Teslarati points out that Tesla's online configurator in Europe has shown a tow hitch that's approved to pull some 3,500 pounds.
Industry Outlook Towing


We hope that this statement will clarify the Government's change in policy on requests for leave for pupils during term time and any actions we have been directed to take.
Children are only permitted to take leave during term time under 'exceptional circumstances' where parents / carers can provide evidence to demonstrate that there is no other option.
Please note: ONLY the Headteacher can authorise absence from school.
Each case will be carefully considered on an individual basis. If the holiday is deemed to be unauthorised but subsequently taken during term time, there will be no warning period given for a 'Fixed Penalty Notice' if the holiday period is 10 sessions or more. (NB: A school day is divided in 2 sessions – a.m. and p.m.). Fixed Penalty Notices are issued by West Sussex Local Education Authority and are not processed or arranged by the school.
We would like parents / carers to be very clear about the consequences of taking unauthorised holiday as they will receive a fine of £60.00 per parent per child.
1 Child, 5 days absence = £60 fine for each parent, even if the child only lives with one parent.
As a school we would really encourage you not to take your children out of school during term time unless it is absolutely essential or you may incur a fine.
Please remember that the school's aim is to continue to work positively in close partnership with all parents/carers and we truly do not wish to resort to the enforcement actions of 'Fixed Term Penalty Notices'. If you need to discuss any of these issues further please make an appointment to see the Headteacher / Deputy Headteacher.


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Liaison with the tenants and owner to ensure the smooth operation of the building.
Co-ordination of all repairs and maintenance.
Assistance with major capital projects.
All accounting functions, including monthly reporting, accounting for triple-net costs, HST remittance and calculation of input tax credits.
We work with a variety of leasing agents and are able to provide management-only services to allow the property owner to use other leasing agents if they wish. Proline offers the flexibility to structure these relationships in a way that is suitable for all parties involved.
If you would like to talk to us about commercial management, please contact us.


text:
doctrine about when a war is ethically just
(Redirected from Just wars)
Just war theory is the attempt to distinguish between justifiable and unjustifiable uses of organized armed forces.
QuotesEdit
There are two rules of war that have not yet been invalidated by the new world order. The first rule is that the belligerent nation must be fairly sure that its actions will make things better; the second rule is that the belligerent nation must be more or less certain that its actions won't make things worse.
Martin Amis, "The Palace of the End", The Guardian, 4 March 2003
In order for a war to be just, three things are necessary. First, the authority of the sovereign…. Secondly, a just cause…. Thirdly … a rightful intention.
Thomas Aquinas, Summa Theologica (1266–1273; 1947 republication), part II–II, question 40, article 1, p. 1359–60. The three conditions are sometimes paraphrased as: public authority, just cause, right motive.
The Mahabharata, which provides the context for the Gita, clearly lays down that "non-violence is the highest duty" and describes how Krishna tries several non-violent solutions. Only when these fail due to the stubborn selfishness of the other party, and when the justice of his party's cause is established and acknowledged even by elderly members of the opposite party, does Krishna gradually accept the second maxim, viz. that "violence is a duty against wilful evildoers". That's when he agrees at last to let the war begin. ... At any rate, his conduct in the whole process leading up to the start of the war is neatly compatible with the European theory of Just War, and could even be read as the earliest attempt at formulating such a doctrine of the conditions for Just War.
Bhagavad Gita. About the Just War concept in the Bhagavad Gita. Elst, Koenraad, The religion of the Nazis in : Elst, Koenraad. Return of the Swastika: Hate and Hysteria versus Hindu Sanity (2007)
Justa bella quibus necessaria.
Wars are just to those to whom they are necessary.
Quoted by Edmund Burke, Reflections on the Revolution in France (1790).
War is something absurd, useless, that nothing can justify.
Louis de Cazenave, French veteran of World War I, in [1] BBC News report (2005)].
War will never yield but to the principles of universal justice and love, and these have no sure root but in the religion of Jesus Christ.
William Ellery Channing, reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 614.
War is mankind's most tragic and stupid folly; to seek or advise its deliberate provocation is a black crime against all men. Though you follow the trade of the warrior, you do so in the spirit of Washington -- not of Genghis Khan. For Americans, only threat to our way of life justifies resort to conflict.
Dwight D. Eisenhower, Graduation Exercises at the United States Military Academy at West Pont, New York, USA at 3 June 1947
Modern civilization has introduced great qualifications to soften the rigours of war; and allows a degree of intercourse with enemies, and particularly with prisoners of war, which can hardly be carried on without the assistance of our Courts of justice. It is not therefore good policy to encourage these strict notions, which are insisted on contrary to morality and public convenience.
James Eyre, C.J., Sparenburgh v. Bannatyne (1797), 2 Bos. & Pull. 170; reported in James William Norton-Kyshe, Dictionary of Legal Quotations (1904), p. 245.
The war in Afghanistan against apocalyptic terrorism qualifies in my understanding as the first truly just war since World War II.
Defining a Just War, by Richard Falk, October 11, 2001
All the same, the fundamental truths which govern that art are still unchangeable; just as the principles of mechanics must always govern architecture, whether the building be made of wood, stone, iron or concrete; just as the principles of harmony govern music of whatever kind. It is still necessary, then, to establish the principles of war.
Gen. Foch, Principles of War. From the preface written for the post-bellum edition.
Constantine was converted to Christianity by a vision that came to him on the eve of the battle of Milvian Bridge: "He saw with his own eyes, up in the sky and resting over the sun, a cross-shaped trophy formed from light, and a text attached to it which said, 'By this sign, conquer' ". Soon the cross would morph from being a hated symbol of Roman brutality into the universally recognizable logo of the Holy Roman Empire. Within a century, St Augustine would develop the novel idea of just war, trimming the church's originally pacifist message to the needs of the imperial war machine.
Empires prefer a baby and the cross to the adult Jesus, by Giles Fraser, December 24, 2004
Never think that war, no matter how necessary, no matter how justified, is not a crime.
Ernest Hemingway, Introduction to "Treasury for the Free World" by Ben Raeburn, 1946.
When people ask me what I did in the war, I tell them I did the same thing we all did. We fought for what was right. I've come to realize, there's nothing good about war... But there is good in why you fight wars. And we were all fighting for the same thing.
William Holt in Medal of Honor: European Assault (2005), written by John Milius.
The organizing principle of any society is for war. The basic authority of the modern state over its people resides in its war powers. Today it's oil, tomorrow, water. It's what we like to call the GOD business: Guns, Oil, and Drugs. But there is a problem. Our way of life, its over. It's unsustainable and in rapid decline. That's why we implement demand destruction. We continue to make money as the world burns. But for this to work the people have to remain ignorant of the problem until it's too late. That's why we have triggers in place: 9/11, 7/7, WMDs. A population in a permanent state of fear does not ask questions. Our desire for war becomes its desire for war. A willing sacrifice. You see, fear is justification, fear is control, fear is money.
Gerry Langdon in The Veteran (2011), written by Matthew Hope and Robert Henry Craft.
Justum est bellum, quibus necessarium; et pia arma, quibus nulla nisi in armis relinquitur opes.
To those to whom war is necessary it is just; and a resort to arms is righteous in those to whom no means of assistance remain except by arms.
Livy, History, Book IX. 1.
But war, in a good cause, is not the greatest evil which a nation can suffer. War is an ugly thing, but not the ugliest of things: the decayed and degraded state of moral and patriotic feeling which thinks nothing worth a war, is worse. When a people are used as mere human instruments for firing cannon or thrusting bayonets, in the service and for the selfish purposes of a master, such war degrades a people. A war to protect other human beings against tyrannical injustice – a war to give victory to their own ideas of right and good, and which is their own war, carried on for an honest purpose by their free choice – is often the means of their regeneration. A man who has nothing which he is willing to fight for, nothing which he cares more about than he does about his personal safety, is a miserable creature who has no chance of being free, unless made and kept so by the exertions of better men than himself. As long as justice and injustice have not terminated their ever-renewing fight for ascendancy in the affairs of mankind, human beings must be willing, when need is, to do battle for the one against the other.
John Stuart Mill in "The Contest in America", in Dissertations and Discussions, vol. 1 (1868), p. 26; previously published in Harper's New Monthly Magazine, Volume 24, Issue 143 (April 1862), page 683-684.
War, in one form or another, appeared with the first man. At the dawn of history, its morality was not questioned; it was simply a fact, like drought or disease -- the manner in which tribes and then civilizations sought power and settled their differences. And over time, as codes of law sought to control violence within groups, so did philosophers and clerics and statesmen seek to regulate the destructive power of war. The concept of a "just war" emerged, suggesting that war is justified only when certain conditions were met: if it is waged as a last resort or in self-defense; if the force used is proportional; and if, whenever possible, civilians are spared from violence. Of course, we know that for most of history, this concept of "just war" was rarely observed. The capacity of human beings to think up new ways to kill one another proved inexhaustible, as did our capacity to exempt from mercy those who look different or pray to a different God.
Barack Obama, Nobel Prize acceptance speech (2009).
Every decision to launch a war, even if it is the most justified and clear decision, is never easy. [...] It should not be utilized in the political race of those who wish to rise to power even at the price of baseless self-destruction, which lacks logic and boundaries – all this around a war which was the most justified.
Ehud Olmert, May 29, 2007 [2]
It is the object only of war that makes it honorable. And if there was ever a just war since the world began, it is this in which America is now engaged. * * *
We fight not to enslave, but to set a country free, and to make room upon the earth for honest men to live in.
Thomas Paine, as quoted in The Crisis No. IV (12 September 1777). Quotes reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 841-60.
We must not let what happened lead to a deepening of divisions. Religion must never be used as a reason for conflict. [...] With all my heart I beg God to keep the world in peace. From this place, I invite both Christians and Muslims to raise an intense prayer to the One, almighty God whose children we all are, that the supreme good of peace may reign in the world.
Pope's spokesman Dr. Joaqun Navarro-Valls: ...the pope believes that the extremists directly responsible for the attacks on the United States could and should be distinguished from the wider threat of Islamic fundamentalism and that any response should be limited to punishing the guilty.
Pope John Paul II, Astana, Kazakhstan, September 23, 2001 [3]
I say: NO TO WAR! War is not always inevitable. It is always a defeat for humanity. International law, honest dialogue, solidarity between states, the noble exercise of diplomacy; these are methods worthy of individuals and nations in resolving their differences. I say this as I think of those who still place their trust in nuclear weapons, and as I think of the all too numerous conflicts which continue to hold hostage our brothers and sisters in humanity. Bethlehem reminds us of the unresolved crisis in the Middle East, where two peoples, Israeli and Palestinian, are called to live side by side, equally free and sovereign, in mutual respect. Faced with the constant degeneration of the crisis in the Middle East, I say to you that the solution will never be imposed by recourse to terrorism or armed conflict, as if military victories could be the solution. And what are we to say about the threat of a war which could strike the people of Iraq, the land of the Prophets, a people already sorely tried by more than 12 years of embargo? War is never just another means that one can choose to employ for settling differences between nations. As the charter of the United Nations Organisation and international law itself remind us, war cannot be decided upon, even when it is a matter of ensuring the common good, except as the very last option and in accordance with very strict conditions, without ignoring the consequences for the civilian population both during and after the military operations.
Pope John Paul II, January 13, 2003 [4]
When war, as in these days in Iraq, threatens the fate of humanity, it is ever more urgent to proclaim, with a strong and decisive voice, that only peace is the road to follow to construct a more just and united society. Violence and arms can never resolve the problems of men.
Pope John Paul II, March 22, 2003 [5]
Unjust war is to be abhorred; but woe to the nation that does not make ready to hold its own in time of need against all who would harm it! And woe thrice over to the nation in which the average man loses the fighting edge, loses the power to serve as a soldier if the day of need should arise!
Theodore Roosevelt, speech at the University of Berlin, May 12, 1910.
Women have long been props for war-making. Invasions are often justified in part by pointing to the suffering of women in the countries targeted for attack. "Only the terrorists and the Taliban threaten to pull out women's fingernails for wearing nail polish," Laura Bush said when she took over her husband's weekly radio address, in 2001, to urge Americans to support the war in Afghanistan. Like McMaster's miniskirt photograph, Bush's speech exemplifies the kind of pseudo-feminism sometimes used to justify invasion. The literary theorist and postcolonial feminist Gayatri Spivak calls it "white men saving brown women from brown men," an imperial logic that ignores sexism at home to fight sexism abroad, and which disregards brown women's agency and self-understanding. How women make sense of the situations in which they live—whether, for instance, they see the veil as oppressive or as a symbol of resistance or simply as an important religious practice—is irrelevant. Instead, imperialism is presented as a necessary act of deliverance. They don't know how to treat their women; our job—really, our moral obligation—is liberation.
Sarah Sentilles, "Colonial Postcards and Women as Props for War-Making", The New Yorker, (October 5, 2017).
.מלחמת שלום הגליל היתה מהמוצדקות ביותר במלחמות ישראל
Translation: Peace for Galilee's war was one of the most justified of Israel's wars.
Ariel Sharon, in a TV interview
The statesmen will invent cheap lies, putting the blame upon the nation that is attacked, and every man will be glad of those conscience-soothing falsities, and will diligently study them, and refuse to examine any refutations of them; and thus he will by and by convince himself the war is just, and will thank God for the better sleep he enjoys after this process of grotesque self-deception.
Mark Twain, The Mysterious Stranger and Other Stories
War can only be abolished through war … in order to get rid of the gun it is necessary to take up the gun.
Mao Zedong Problems of War and Strategy.
The term "just war" contains an internal contradiction. War is inherently unjust, and the great challenge of our time is how to deal with evil, tyranny, and oppression without killing huge numbers of people.
Howard Zinn, Terrorism and War, (2002).
We need to decide that we will not go to war, whatever reason is conjured up by the politicians or the media, because war in our time is always indiscriminate, a war against innocents, a war against children. War is terrorism, magnified a hundred times.
Howard Zinn, The Old way of thinking in The Progressive (November 2001).
Right of revolution
Retrieved from "https://en.wikiquote.org/w/index.php?title=Just_war_theory&oldid=2685381"


Domaine La Rouviole 2007 Coup de Théatre, Minervois (Syrah) - 100% Syrah in fact, giving nice pure floral spicy cherry fruit; powerful extracted palate yet reasonably well-balanced with it, concentrated vs firm tight finish still for a 07. Very good although quite pricey at £16.99 (Hallgarten Druitt, UK).
DLR is found in the Minervois La Livinière subzone (although this wine isn't labelled up / 'classified' as such) and has been owned by the Léonor family since the 1950s, who've restored its hillside vineyards over the years to become one of the area's leading estates. The terrain sprawls over 40 ha in total (100 acres) including swathes of wild scrubland and olive trees as well as vines. Their wines are also available in Germany, Belgium, Canada, Poland, Switzerland, Japan, Singapore. More info @ larouviole.fr.
Domaine Borie de Maurel 2008 Sylla, Minervois (100% Syrah) - 'reductive' herby notes/style to start with, tight and firm mouth-feel vs concentrated and nicely textured tannins actually, still young and closed up although promising. Another dear wine though at £27.95 (Terroir Languedoc, UK).
Owned by Michel and Sylvie Escande since 1989, who were also leading lights behind the creation of the La Livinière subzone kick-started in the late 90s, and aided and abetted by son Gabriel. BDM's 35 ha (85 acres) of vineyards lie on the 'Petit Causse' on the edges of the Montagne Noire hills, some of them up to 300m altitude (1000 feet). They opened their own on-site "bar" in 2008 serving wine by the glass or bottle (theirs naturally) with "Occitan tapas" and home-grown vegetables.
Languedoc: Minervois, red white rosé 2010 and 2011 (tasting and touring report July 2012).


text:
Congress Ministries, War and Resignations 1936-1941
R. Kumar (Author) S Ram (Author)
Synopsis The book Congress Ministries: War and Resignations covers the crucial period between 1936-1941. The Act of 1935 explained several constitutional developments which became the basis of the administrative machinery in late 1930, and the years of the Second Global War. In fact the whole theme has been covered into fifteen chapters along with the comprehensive index. For the first time the popular ministries began to function, but they did not last long and the Congress Ministries resigned with the commencement of the Second Global War. The emergence of Subhas Chandra Bose is a significant phenomenon on the political horizon of India. As Congress President, he dominated the political scene with his new ideology which had deep bearing on pathway to Swaraj. He had his innings during this period and, in fact, he played a dominant role. Besides the role of Maulana Abul Kalam Azad has been highlighted. His address at Ramgarh is fairly comprehensive in contents. The Congress Ministries resigned as a protest to the fact that the war aims of the Raj were clarified and it, therefore, decided to resign from the seven provinces where they wielded power. The period witnessed the resolution on Pakistan in March 1940. Besides the Cripps Mission paid its visit of India and after a brief stay have it gave some recommendations which were not accepted by the congress.
105.30 94.77 $ 117.00 $
R. Kumar
Dr. R. Kumar is an accomplished writer,prominent ophthalmologist, eminent socio-medical scientist, diligent social worker, organizer par excellence and a noted public health educator of North India. He has been writing in English, Hindi and Punjabi. He has written on all aspects of health and has over 60 books to his credit. He has been writing regularly for the health columns of different newspaper e.g. The Tribune, The Indian Express, Danik Bhaskar, etc. Besides, he has organized several seminars and conferences to further the cause of medical science and to bolster the aspect of continuing medical educating for the benefit of doctors in practice or in service. Born at Keorak (Haryana) on January 26, 1946, he worked at Nehru Hospital, Post-Graduate Institute of Medical Education and Research, Chandigarh (PGI), Chandigarh from 1968-73. He had his early education at DAV College, Jalandhar (1961-63). He joined Govt. Medical College, Patiala and passed in flying colours (19668). Then he acquired his higher degree of specialization in Opthalmology in 1971 from PGI, in first attempt. He had set up his own private modern Eye Clinic for consultation/treatment of patients, first in Sector 15 in the year 1974 and then shifted. He has been President/Secretary of several medical association from time to time. He continues to organize seminars and CMEs for the benefit of doctors and health education and awareness programmes for the public.
S Ram
Dr. S. Ram, is a versatile genius. A wide spectrum person – an educational scientist and administrator, and a celebrated author, having over three decades professional standing, currently he is an Advocate, Supreme Court of India.
Andaman and Nicobar Islands: Past and Present
Encyclopaedia of Afghanistan (In 6 Volumes)
Encyclopaedia of Sufism (In 12 Volumes)
Sufism: Tenets, Orders and Saints
The Cambridge Economic History of India: C. 1200-C.1750 (Volume 1)
Syamukapu: The Lhasa Newars of Kalipong and Kathmandu
Title Congress Ministries, War and Resignations 1936-1941
Author R. Kumar
Publisher Commonwealth Publishers Pvt. Ltd.
Subjects History


As you will find out throughout this year, a lot of the PhD students here in LINCS are actually practicing interpreters or translators. So most of us are researching the very work we do on a regular basis. This leads to a first question: why would practicing interpreters and translators give up or at least slow down their practice for 3 years or more to go and sit in the aforementioned dull and dreary rooms? Good question.
In the next few posts, we will look at some of the reasons people do research and what it is actually like to be a PhD student.
For me personally, it starts with the fact that is that it's very rare, when you are doing translation/interpreting/etc. to have time to sit back and think about how to do it better. For the most part, the general busyness of being a professional means that between working, doing admin, chasing clients, gaining clients, networking and sleeping there is not a lot of time to think much past the next job or the next payment.
All professionals want to get better but few have the time to spend to investigate how. Sure, there are always CPD events and conferences but what impact do they actually have on your practice? Networking might get your more clients and going to events can be fun but how do you know whether it has been of any real benefit to you? Less selfishly, how can you possibly understand what is going on in the profession or what impact your work is having on the wider world when you are constantly pressured just to keep up?
For three years or so, doing a PhD gives you that space. Research is built on thinking. We think about what we want to investigate. We think about the people who have looked at the same problem before. We think about how to gather data. We think about what the data means. With good research, we then think about how that might be applied to the same world of translation and interpreting that we have come from.
So, when I noticed that in-between translation and interpreting jobs, when I should have been visiting some event or doing admin, I was actually reading research papers, I realised something was up. I saw that I was quickly growing a passion to link what academics say and what translators and interpreters do.
After all, when we start lobbying for better paid interpreters, we need research to show what they actually do. When we want to disprove silly stories about interpreters being paid five figure sums, we need research to show we are right. When we want to demonstrate the good that interpreting and translation do for society, yep, you've guessed it, we need evidence.
Like it or not, the future of translation and interpreting, at least in the UK, depends on how well academia and the profession can work together. And that's why I do research.
Why bother with a translation degree?
They cost lots of money, don't really help and waste your time. That's the common opinion of the majority of translation degrees. In a profession where there are as many routes in as there are professionals and where a good work history trumps a list of degrees, why on earth would anyone even think of spending thousands of pounds on a year or four in a university? Surely there are easier ways in.
Well, truthfully, there might be easier ways into the profession. You can, if you want, set yourself up as a translator with no training and even less experience. You might, if you keep your rates low, just score a few early clients and work up from there.
But let's turn this around. Almost everyone reading this post will agree that translation could do with a greater degree of professionalization. If the fight over conditions and pay for interpreters has taught us anything, it is that we need fixed standards and defined entry paths if our professions are to attract the respect we believe they deserve.
How many of us would happily visit a GP whose only qualifications was a month watching Casualty and House? We all agree that it is good that people who want to become doctors (or dentists or accountants or lawyers) need to go through a period of university training BEFORE they are let loose to practice. Why should things be any different for translators?
The problem then is not so much with the concept of a translation degree but with our perception of them. For many translators, fairly or not, a translation degree is associated with time spent thinking about translation, writing about translation and discussing translation but doing very little of it. Hence why so many translation blogs go on about a translation degree not making you a translator.
But what if there was such a thing as a practical translation degree? What of prospective translators got down to the nitty-gritty and into texts from week one? What if, on top of their training, they got advice and help from practicing translators on how to get into the field? What if the texts they handled were very close to the kinds of texts they will face in real-life? Surely that would make it worth it.
Of course, we can't let this idea go by without pointing out that Heriot-Watt has just such a degree. 😉 On the other hand, it would be a shame if all this post achieved was a little advertising. In a recent survey on this blog, "better translation training" was one of the top things people wanted research to look at. What exactly does this mean? How did you train as a translator? If you did a degree, was it any good? What could have made it better? What kinds of things should a degree actually cover and how long should it last?
Please leave your views in the comments below.
About 7 years ago (yes, I am THAT old) I was a total newbie. Two short months after getting married, I found myself two floors down from where I am writing this. I was stood in the entrance hall of the Henry Prais building waiting for my first ever Interpreting class. And I was worried. Fast forward a year and a half and I had finished my MSc dissertation at last and was ready to face the world. Little did I know I had slowed my own progress. This post follows on from Fanny's posts on Wednesday and Monday and is aimed at helping you not to make the same mistakes I did. So, here are my top 5 strategies to get the most out of your MSc.
I picked up this bad habit from school, where I could go out every night of the week, not do the homework and still get good grades. While it might just be possible to pass an MSc like that (although it is unlikely), it is a seriously bad idea. Practice sessions, reading lists and the like are not there to punish you. Work hard, read a lot and practice even more and you will not only get good grades but more importantly, you will get better at translation and interpreting far more quickly and easily than would otherwise be the case.
This sounds a lot like the tip above but it is actually a lot more specific. If you make a plan, even a rough one, of what you want to achieve each week then you are more likely to get more done. Start scheduling tasks like listening to the news in your B and C languages or attempting to interpret a live speech or translate part of a web site. Do a little extra each day and it will pay off.
Duh, you're in university, of course you will think. Actually … not so much. You would be amazed at how many people attend the lectures, do the assignments and can't tell you what they wrote five minutes after handing them in. Even worse, they practice interpreting and translation for hours a week and can't tell you what their weaknesses are. Learn to look at your own work critically. What do you find difficult in interpreting? Could your voice be clearer? Could your sentences be sharper? What kinds of texts are you better or worse at? What kinds of things do you definitely NOT want to end up translating or interpreting when you leave? Start answering those questions and you will be able to get better every day too.
You know how every lecture ends with a Q and A session? There's a reason for that. Here's a good question to ask in every lecture: "How would I use that as a professional translator/interpreter?" If you can't answer that question yourself, please do ask the lecturer. It not only shows that you care but it gives you a nice take away that you can apply to your learning in the longer-term.
5) Take a notepad everywhere!
There is an old cliché that true interpreters go nowhere without a notepad and a pen. Good students should be the same. Do this not just to practice note-taking skills but to jot down how you plan to use what you are learning and how well you are learning. Keep a "Learning Diary." If you ask a question at the end of a lecture, and you should(!), then take a note of the answer. Go back over your lecture notes and think and write about how you would use them after you are finished. In short, write down everything you are learning and the ways you might actually use that stuff one day.
Do those five things and you will make your degree much more interesting and much more useful.
Public Service Interpreting: How hard can it be?
In the following guest post, Pierre Fuentes, Convenor of ITI Scotland and Heriot-Watt graduate, lets us know about an exciting event taking place here at Heriot-Watt.
The Scottish Network of the Institute of Translation and Interpreting will hold its autumn workshop at Heriot-Watt University on Saturday morning, 29 September 2012.
ITI Scottish Network is the Scottish representative body of the Institute of Translation and Interpreting (ITI), the foremost professional body in the UK for practising translators and interpreters.
The Network's autumn workshop will be about public service interpreting. The first half of the session will discuss the landscape and challenges of public service interpreting in Scotland, setting the scene for the day. The second half will discuss what it is like working as a public service interpreter.
The current landscape of the sector is a hostile environment. The workshop speaker will share her insights into the key challenges the sector faces and what can be done to "turn the tide".
Ms Jeanice Lee is the executive director of Elite Linguists, a social enterprise committed to strengthening Scotland's public service interpreting and translation provision, thereby addressing some of the root causes of inequality and injustice in our society where language can be a barrier.
Ms Lee will share her experiences using a rich mix of facts and case studies to explore the challenges and rewards of life as a public service interpreter, and touch on some ethical dilemmas and traumatic encounters.
This workshop will be useful to those studying interpreting, those who already work or are thinking about working as a public service interpreter, as well as all those with a more general interest in the interpreting industry.
Editors note: The opinions expressed in guest post solely those of the writer of the post.
Having reiterated the obvious, let's get down to the not-so-obvious.
Very simple: do it. But do it cleverly. In other words, set yourself goals and specific tasks, and review your own work afterwards. For instance, if you want to work on economic translation, why not use the web-site of an important multinational whose webpage is available in several languages? They often have quarterly reports on the company's finances – build up your glossary, flipping between the two versions of the page, and then find a small paragraph further in the text and translate it. You have a "model" translation to refer to, and you can analyse discrepancies. Even better – do the work with an exchange student, so that you can discuss the source text and translation with them.
You're studying interpreting? Again, you'll have received clear advice and guidance from your lecturers, and you'll have materials at your disposal. All serious EU interpreting programmes should also be able to provide you with access to the speech repository created by the DG Interpretation – a wonderful resource.
What is important is keeping a critical eye on your work: plan your self-study, assess your work (time to rope in these exchange students you've befriended), and once you've taken stock of your progress, decide what you'll do for your next self-study session.
Running a study blog could be an interesting solution and a way to perfect narrative techniques and humour, for instance.
The extra mile: what more can you do?
Plan ahead – and I don't just mean "assignments and classes". By that, I mean "plan your post-university life". You're going to come across the usual catch-22 situation: employers want people with experience, but how can you get experience if you don't get a job? Well, actually, you can. Experience doesn't have to be paid employment, as your career officers will explain to you. It can be volunteering, as long as you only do so for charities that wouldn't otherwise have employed a qualified professional. It can also be drawn from your involvement in associative life- that could be a great preparation for translation project management. It could also come from your part-time job which has given you a good understanding of an industry or another.
You should also be proactive: if you're interested in public service interpreting, go and sit on trials, many are open to the public and you'll learn a lot about the proceedings. Organise a multilingual debating society at your university. Attend open lectures and free seminars to enrich your culture. In other words: think outside the box.
"But when do I have the time to do all that?", you'll ask me. Well, you may already be doing lots of interesting things – and if not, get yourself a diary and get planning. Organisational skills are also a must.
Last but not least: don't panic, don't be too harsh on yourself and take time to relax. Translation and interpreting are two extremely demanding professions, which can't be improvised, a bit like a marathon. It will take you time to develop the skills and you'll need to build up your stamina and resistance, so treating your "muscles" (in that case, your brains and your voice) kindly is the surest way to last the distance.
September is upon us, which can only mean one thing: students are back! Fresh minds, motivated young people, talents waiting to be honed … that's what we lecturers hope for each year, and that's hopefully how you students feel at the beginning of your M.A. or MSc in translation and/or interpreting.
So how can you make the most of this coming year? Well, here are a few recommendations from the "other side of the desk".
Let's start with the obvious: language skills.
But which one? This may seem like an odd question. Obviously, the foreign language(s)!
OK, let's start with that.
Evidently, you must master the grammar and verb morphology of your foreign language (no way around it, sorry guys). You also need vocabulary – get your pads and pens out, that's the only way you'll really memorise it properly. And of course, a language is more than words and grammar: to really understand the message, words aren't enough – you need to acquire the cultural, social, economic, political and historical knowledge which is commonplace for the speakers or authors you'll work from, and their level of education can be rather high. So don't neglect the lectures on these matters, they may seem quite unrelated to translation and interpreting, but in fact they'll make all the difference. And speak to exchange students, befriend them and work with them- they know what you're going through, they had to learn this language in the first place themselves.
But the most important language to master is actually your own (your "A language", to use the jargon).
You may have grown up and gone to school in the UK, for instance, but it doesn't necessarily mean that you can adopt the appropriate high register used by a diplomat or a politician, nor fully understand what a finance minister has to say about EU markets.
There is a solution and you know it – time to ditch the Metro and to start reading good quality newspaper (which you can usually get at student prices on campus); time to dig out those good old history books (old schools manuals are actually a great source of general knowledge); time to invest in a good atlas (countries change names, and evolve); time to read the classics (many are available for free on e-books and can be read on your smartphone – put that bus journey to good use).
Now all these are old news, and if you're honest, you'll admit to having heard us all sing that tune before. What you need to bear in mind is that improving your language skills, in your mother tongue and in your foreign languages, is the work of a lifetime. And that's good, really, because there will always be exciting new expressions to discover, books to read, accents to get used to … so you're set for careers that will never get boring!
News and information from the Department of Languages and Intercultural Studies (LINCS) at Heriot-Watt University.
The Translating the Deaf Self project: Where are we now?


5 April 2019 (United Nation) – The Venezuela refugee crisis, which has already left some 1.1 million children, returnees and people in-transit lacking protection and basic services across Latin America and the Caribbean (LAC), has prompt the UN Children's Fund (UNICEF) to call on regional Governments to uphold their rights and protect unaccompanied, undocumented children.
"UNICEF is encouraged by Governments' efforts to jointly seek regional solutions to the challenges posed by largescale migration that are in line with international standards and national laws, such as the protocol adopted by Ecuador to protect uprooted children," said María Cristina Perceval, UNICEF's Regional LAC Director.
Since 2015, amid spiraling hyperinflation, shortages of basic goods, political turmoil, violence and persecution, more than 2.7 million Venezuelans have left the country to seek safety or a better life abroad, according to the Office of the UN High Commissioner for Refugees (UNHCR).
Moreover, host countries lacking clear migration policies, put children at higher risk of discrimination, family separation, xenophobia and violence – with unaccompanied and separated children, pregnant women, nursing mothers and indigenous people at even greater risk.
"Human rights standards call for States to allow children entry and registration as a precondition for carrying out initial protection assessment procedures," stressed Ms. Perceval. "Even when they are unaccompanied and without official documentation, they should be immediately directed to specialized personnel, who can assess their protection needs".
In addition to providing States with valuable planning and budget information, UNICEF called registering children on the move "the first step in guaranteeing their rights". The agency has appealed for $69.5 million to meet the needs of migrants across the LAC region.
Despite Venezuela's official land-border closures with neighbouring Colombia and Brazil in February, thousands of people continue to flee daily, many risking their lives by wading across torrential rivers or facing exploitation and abuse by armed groups controlling treacherous pathways, according to UNHCR.
UNHCR spokesperson, Andrej Mahecic, toldreporters in Geneva that "the crowds were a result of the Tachira River swelling, which in turn is making crossings by foot even more dangerous than usual".
Since 23 February, when the Venezuelan restrictions on border crossings were instituted, people have resorted to using muddy footpaths known as "trochas" and wading across the Tachira River to get to Cucuta where they work, study, and get medical attention, food and medicines unavailable at home. Thousands of others enter en-route to other Latin American countries.
"With heavy rain having swollen the river and flooded many of the footpaths, the only viable option for most Venezuelans was the bridge", he explained, adding that the situation illustrates the dangers of irregular cross-border movements by desperate people.
Although river's current had temporarily subsided by mid-week, the onset of the rainy season means "crossings will continue to be highly dangerous".


The Reproductive Awareness Program(RAP) empower high-risk and high-need youth ages 12-19 throughout Los Angeles County with the knowledge, understanding, and behavioral skills needed to make responsible decisions concerning sexual and reproductive health. JWCH RAP has developed proven strategies and best practices to: 1) optimally delivery comprehensive, medically accurate, unbiased sexual health education; and 2) provide clinical linkages to sexual and reproductive health services to high-need youth. RAP was established in 1985. RAP is funded by California Department of Public Health/Maternal, Child and Adolescent Health Division.
To decrease adolescent pregnancy and sexually transmitted infections by educating young people about sexual and reproductive health, providing information on eligibility and access to reproductive health care services, and engaging local communities to promote adolescent health.


text:
RIP Marta Padovan
Spanish film, TV and theater actress died in Barcelona, Spain on Sunday September 29, 2019. She was 81. Born in Poblenou, Barcelona, Cataluna, Spain on January 9, 1938 she made her film debut at the age of 20 in "La muralla" (1958) directed by Luis Lucia. She would go on to appear in more than 60 film and television series. In the 1980s she turned to the theater and even started her own company 'Romea Theater'. Padovan was also very active as a voice dubber and was best remembered as the voice of Roseanne Barr in the TV series "Roseanne". She appeared in two Euro-westerns; "Ruthless Colt of the Gringo" 1965 in the role of Lois Duvall and "The Secret of Captain O'Hara" (1966) in the role of (Mary McQueen/Mary MacQuint.
New Westerns of the 21st Century
The viability of the European western in the 21st century
Kulturni Magazin
By Jan Švábenický
Many books and journal studies often claim that the Western is a dead genre in national Western European cinematography, but the figures for the number of films made over the past eighteen years show a completely different historical reality. The Western has never disappeared on the European continent, just as it did not originate in the 1960s, as is wrong again. This genre has a long tradition in European cinematography and culture, and in addition to film, it can also be found in literature, theater, art and music.
From the beginning of the new millennium to the present day, the Western has found a new iconography, themes, plots, and, through ever-changing film technology, has acquired an audience-friendly form that reflects the interests of a wide audience. With changing trends, this genre is no longer just the domain of large production companies, but also emerges as an independent or intellectual spectacle seeking ideological and stylistic innovations of stories from the American West or the exotic environment of Mexico. Contemporary Westerns in the individual national cinematographies of Western Europe are characterized by similar genre playfulness and formal experimentation, which were characteristic mainly of Italian and Spanish films from the 1960s and 1970s. Many producers, screenwriters and directors still treat the Western today as genre hybrids and combinations that play with the audience's sensitivity.
Lonely comic riders from France
As in the 1960s and 1990s, many Westerns emerging in Western European cinematographies were mostly filmed as co-productions of several countries, in attractive natural locations and with an international cast. This approach is also applied by the creators of French Westerns, who are among the greatest representatives of the Western European model of the genre in the new millennium. The genre diversity pervading individual films is based on the concept of western as a refined play, sophisticated irony, and a nostalgic return to film history. Similarly to other national cinematographies, it has an established tradition of comedy Westerns in France, which oscillates between a spectacular narrative spectacle and varied forms of humor in relation to characteristic genre rules. For example, The Daltons (Les Dalton, 2004) by Philippe Haïm and Lucky Luke, (2009) by James Huthe, based on the comic motifs of the creative duo Morris and René Gosciny, deal with these recognizable elements. Both films give the impression of exotic color by choosing exteriors in Spain and Argentina that create a Mexican environment. When experimenting with genre combinations, producers and creators adapted the genre to a certain type of viewer. Co-produced with the U.S.A., Djamela Bensalah, Big City, is an adventurous family-style narrative with child actors designed especially for the same age range of its audience.
Some French Westerns refer directly or indirectly to older films of the same genre made in France in the 1960s and 1970s. Comedy films include Espen Sandberg and Joachim Rønning's Bandidas (2006), an action-packed adventure co-produced with Mexico and the USA. The film with the image of partnership and rivalry of two central female characters returns to two similarly conceived Westerns of Viva Maria! (1965) by Louis Malle and The Legend of Frenchie King (Les Pétroleuses, 1971) by Christian-Jacque. The creators used not only the motif of female friendship and rivalry, but also ironic exaggeration in depicting various cultural allusions. Even non-comedy films experiment with genre rules. The mysterious western Renegade (Blueberry, 2003) by Jan Kounen is intertwined with a story of revenge and spectacular action, Indian mysticism and elements of fantasy. With Spanish and Mexican exteriors, including Christian folk architecture, Kounen's film nostalgically recalls the era of the Italian westerns of the 1960s and 1970s. Jacques Audiard, the latest French western Les Sisters Brothers (2018), was developed in the Spanish and Romanian exteriors, developing the story of the adventurous journey of two sibling killers. In this film, too, the filmmakers combine the image of violence with sarcastic elements and ironic replicas as the central pair of characters.
France has always approached Westerns with the same fascination, nostalgia and irony as other national cinematographies of Western Europe, and has given the genre its cultural specifics and humor. In the new millennium, many French filmmakers focused not only on experimenting with genre rules and crossing their boundaries, but also on new stylistic possibilities bringing the development of modern film and digital technology. While some films such as Lisuja Alonso's Jauja (2014) are produced in a wide international co-production, other films are often made in collaboration with the US or Canada as The Homesman, (2014) by Tommy Lee Jones or Forsaken (2015) by Jon Cassar. American production companies and Hollywood producers are also investing in projects directed by French or other European filmmakers. This co-production model is evident in the films of the above-mentioned directors such as Jacques Audiard, Espen Sandberg and Joachim Rønning. Westerns in France are a spectacular spectacle competing in the same genre in Hollywood on a thematic, iconographic and stylistic level. Although the French filmmakers - like Italian and Spanish directors - pay great attention to the set, the props and the drawing of the environment, they maintain an ironic distance from the authentic image of the American West and focus on the variability of the exciting narrative.
The Mexican plains between Italy and Spain
Italian and Spanish westerns, whose greatest production intensity relates to the 1960s and 1970s, never disappeared, as producers and creators continued to show interest in the genre in the following periods. Although later titles competed with formerly proven and cult films, the Western in Italy and Spain from the 1980s to the new millennium found new genre and iconographic forms. Especially in Italian cinematography, its production has been rich since 2000, as it has also been targeted by independent filmmakers often referring to films from the 1960s and 1970s. The nostalgic return to genre developed in their Westerns Doc West (2009) and Triggerman (2009) in co-direction with Giulio Bas, director actor Terence Hill, who also refers directly to his acting films produced by Sergio Leon. This is My Name Is Nobody (Il mio nome è Nessuno (1973) Tonina Valerii and The Genius (Un genio, due compari, un pollo, 1975) by Damian Damiani. While Valerii and Damiani blend the dramatic and spectacular model of the Italian western with its comic variant, Hill focused primarily on linking the romantic, nostalgic and melancholic concept of this popular genre. Specifically, in the visual stylization of the costume and the props of the central character, Hill returns to the characters of the wandering gunslingers he portrays in the above films.
Cultural nostalgia and a filmmaker's homage to the Italian westerns of the 1960s and 1970s have found the greatest response in the work of independent directors, some of whom have gone from short films to long feature films. These include in particular director, screenwriter, producer and actor Emiliano Ferrera, who is in all these professions devoted to the creation of Westerns. After several short films Inferno bianco (White Hell, 2007), set in a winter mountain setting co-directed by Stefano Jacurti, Ferrera also focused on producing spectacular westerns. While in Sangue dall'inferno (Blood from Hell, 2016) blends Indian mysticism with horror, the latest film Oro e piombo (Gold and Lead, 2018) draws on the historical events of the American indigenous massacre. Ferrera, who looks like Clint Eastwood, directly stylizes into an iconographic style in which the American actor appeared in the films of Sergio Leone. Other Italian filmmakers experiment with different genres of the Italian western. For example, Gianluca Sodaro conceives his Sicilian film Raging Heart (Cuore scatenato 2000), combining irony with violence and bloody effects, as a cultural reference to the work of Quentin Tarantino. Mauro Aragoni develops in the mysterious story Quella sporca sacca nera (The Dirty Black Bag, 2015) an episodic narrative structure evoking the literary style of a diary novel.
Contemporary Spanish Westerns are also going through various paths, which shows, besides the variability of the stories of revenge, also the legends of the Wild West. For example, the international co-production of Blackthorn (Sin destino, 2011) by Spanish filmmaker Mate Gil transforms the historical picture of bank robber and desperado Butch Cassidy, who survived a Bolivian encounter with the local army and leads a secret life in South America. In keeping with the popular genre tradition of the 1960s and 1970s, some films continue to develop explicit forms of violence and sadism, which serve as an authentic picture of cruelty in escalating relationships between characters. This model of Spanish western is represented by films such as Nubes rojas (Red Clouds, 2016) by Marina Darés and Parade en el infierno (2017) by Víctor Matellan. Some Hollywood westerns in Spanish co-production and the Spanish exteriors of Almería and Tabernas also pay tribute to Italian westerners. Tanner Beard and Russell Quinn Cummings' Six Bullets to Hell (2016), varying the themes of crime and revenge, where the creators also used archive works by Ennio Morricone and other Italian composers. Even in Spain, the Western often serves to nostalgically revive film history.
Gunfire Stories from Germany & Co.
German cinematography has a similarly long historical tradition in the production of westerns as France and Italy, and here the genre is also widely represented in literature. Compared to the 1960s and 1970s, it is no longer a continual production of exciting stories from the American West, but the Western is still an attractive show in Germany in terms of production, film and audience. At the beginning of the new millennium, a parody of a West German co-production series from the 1960s based on the novels of Karl May's Manitu's Shoe (Der Schuh des Manitu, 2001) by Michael Herbig was created. As in the case of France and Italy, some contemporary German westerns are presented at international film festivals. Thomas Arslan's Gold (2013), shot in Canada as a co-production with Canada, presents the genre as a psychological drama of gold diggers during the Gold Rush period in the Klondike. Andreas Prochaska's Dark Valley (Das finstere Tal, 2014) made in collaboration with Austria and Italy in the exterior of the Italian mountain region of Val Senales in the Trentino-Alto Adige region reverses the subject of revenge by a lone rider for the murder of his family. In particular, Prochasek's film evokes Sergio Corbucci's similarly conceived Italian western The Great Silence (Il grande silenzio, 1968) with a winter environment, explicit violence and film style.
Also in the U.K. Westerns are filmed in international co-productions and in attractive natural locations, which co-create the iconographic framework of the exciting spectacular spectacle from the American West. In Canada, The Claim (2000), Michael Winterbottom develops a historical and social picture of the California Gold Rush environment in the background of a story linked to the past of two women. In South Africa, Paul Matthews' action film Hooded Angels (2002) was shot, which, from a feminist point of view, looks at a group of women taking revenge on former Confederate soldiers for the murder of a small child. Matthews follows the trend of feminization of western in the national cinematographies of Western Europe, which was typical for this genre especially in the 60s and 70s. John Maclean's Slow West (2015) co-produced in Great Britain and New Zealand with New Zealand exteriors, features the western road movie genre. This story of a young man's journey from Scotland to the Wild West develops the image of an unequal partnership between a teenage boy and a bounty hunter, which, on a delegated level, represents the contrast of civilized Europe with the American wilderness. In contrast to French or Italian films, British Westerns tends more to the dramatic concept of the genre with an emphasis on the fateful stories of the characters.
Western has also found a specific national form in Nordic cinematography, where the creators innovate this genre by emphasizing the tradition of literary dramatization of narration and the stylistic elements characteristic of Scandinavian film. The internationally co-produced Danish film The Salvation (2014) by Kristian Levring, shot with South African exteriors, develops a double motif of revenge of the central hero and his antagonists. Here, the creators combine individual characters' stories with spectacular action scenes of violence and killing to create a visually appealing framework for a thrilling spectacle. The extensive international co-production, which also includes Sweden, produced the Dutch film Brimstone (2016) by Martin Koolhoven, which, like some of the above-mentioned films, stylizes western to the genre of thriller. This film enhances the thrilling spectacle of the American West with the theme of religious dogmatism and the character of a fanatical reverend who takes revenge on the town's inhabitants for their sins. These elements have appeared in the Westerns of individual national cinematographies much earlier. Parallels with Koolhoven's film can be found, for example, in the Italian detective western The Price of Death (Il venditore di morte, 1971) by Lorenzo Gicca Palli, where a masked reverend murders the townspeople during the night. Koolhoven also refers to the Italian western by the natural Spanish localities of Almería and Tabernas, where many popular films of this popular genre were made in the 1960s and 1970s.
A few notes in conclusion
In the context of contemporary national cinematographies of Western Europe, the Western is still finding new ways to reach the audience with thematic and especially stylistic innovations. Producers, screenwriters and directors, as in other historical periods, today often resort to a variety of genre combinations that add to the exciting narration and bring atypical elements to the spectacular spectacle. The artistic stylization of the genre can be found, for example, in Piotr Uklanski's Polish Summer Love (2006), co-produced with the USA, featuring Polish male Boguslaw Linda, Czech Karel Roden and American Val Kilmer. In particular, the visual style and concept of costumes refer to the Italian western Portuguese film Estrada de Palha (Straw Path, 2012) by Rodrigo Areias, co-produced with Finland, which uses Christian iconography and Romanesque culture to emphasize national recognition elements of the genre. Some filmmakers are struggling with production problems and distrust of producers in this genre. For example, Italian director Enzo G. Castellari has been looking for a producer for his project The Fourth Horseman (Gli implacabili) since the 1990s, which he intends to shoot with an international cast and in a large co-production in Spain. The Western has a strong creative potential in the long-term cultural tradition in European countries even today.
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