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Learning From Documenta 15
Documenta can be seen as a school for anti-fascist living. But in what sense can an exhibition be a school?
By Kim West 09.09.22 Commentary Artikel på svenska
Fridskul Common Library, Fridericianum, Kassel, 2022. Photo: Victoria Tomaschko.
In Swedish politics everything is now at stake. Recent polling regarding the general election on 11 September gives majority to the new right-wing coalition, which consists of the "traditional" conservative parties together with the far-right Sweden Democrats (SD), which has been excluded from governmental alliances in previous election runs. The formerly liberal right's Faustian bargain with the authoritarian far right has in no way limited SD's appeal or mitigated their influence. On the contrary: it has compelled the other right-wing parties to play by SD's rules, with clear and not very unpredictable effects. According to polls, SD is now the largest party within the right-wing coalition, by some margin.
This year's election campaigns resemble no others, at least not during my lifetime. The right-wing coalition's parties are struggling to surpass each other with increasingly shameless and bizarre proposals. Make all kids in "problem areas" submit to ADHD tests, say the Moderates. Put all immigrants on trains back to their "countries of origin," SD respond. Longer and harsher prison sentences for younger criminals, the Christian Democrats counter. Vote for a Sweden wise with less hindsight, the Liberals offer. (What?) Reduce gas prices and make Sweden great again, concludes the SD, which is now – according to polls – Sweden's second largest party, after the Social Democrats. An election victory for the right-wing coalition would give SD a dominant position, and there is no reason to believe they would be modest in using it.
This is a historically unprecedented situation in Sweden. When the 'traditional', formerly liberal right-wing parties enter into a political agreement with SD, they thereby give their direct and indirect support to the authoritarian, xenophobic, and climate-denialist far right's international network, to SD's sister parties and supporting movements in the Scandinavian countries, in Russia, in Brazil, in the US, and beyond. We are facing something resembling a popular front moment, when all voters to the left of the SD-led coalition must tactically set their political differences aside in favour of unity in resistance. All other questions, all disagreements or irresolvable differences between socialists, social democrats, centrists, and (actual) liberals must be put on hold, no matter how decisive they are. The barriers to the far right's new offensive must stand.
To visit Documenta 15 in Kassel is to enter into a world incompatible with the contemporary far right's worldview. I spent three days there at the peak of Swedish election campaigning, and it was a liberating experience (despite the fact that it almost ruined me). I did not have to constantly hear slogans about borders, national belonging, and ethnic purity, but instead met ideas of the land as a global commons which must be communally nurtured in order to make possible a dignified life in the age of climate crisis. I was not everywhere confronted with the fetishisation of the political leader's awesome executive force and willpower, but instead heard tributes to forms of collective work and decentralised self-determination in networks of informal networks. I was not always enjoined to support the dystopian vision of a militarisation of civil society, with more police, harsher punishments, and intensified surveillance, but instead faced an attempt to renew the dream of a society based on an aesthetic education of the people, now set forth by a multitude of voices from the Global South. I met the experiences of the migrant and the stateless, not the nationalist.
Documenta 15 can be understood as a school for anti-fascist living. At the most general level, when seen as a coherent project or experiment, the exhibition, it appears, seeks to cultivate – educate, but also seed, care for, and grow – a sort of ecosystem of more or less artistic organisations, which together should contribute to establishing a cultural infrastructure for new social forms resistant to fascism's values. In order to realise such a project, ruangrupa, the Indonesian collective which serves as artistic director for this edition of the exhibition, has chosen to distance itself from several of the guiding principles of the Western contemporary art system. To begin with, it discarded the idea of the curator – and of the international superstar mega-biennial curator in particular – as a sort of globetrotting talent scout who should provide critical and professional legitimacy to a certain number of artists in the art world's economic system.
The participants in Documenta 15 have therefore not been selected according to some prestige criteria, but through networks of friends and colleagues. Ruangrupa invited fourteen collectives that it knows or has collaborated with before; those collectives have, in turn, invited further participants, individuals, or groups. The result is an exhibition with – depending on how and when you count – over one thousand participants, refreshingly few of which belong to the art world's usual suspects. Furthermore, collective signatures have been prioritised over individual ones to an extent that at least I have not seen before. The exhibition's planning and the organisation have been carried out in (mainly digital) democratic assemblies. The exhibition's budget was redistributed to the participating collectives and individuals according to a model of communal sharing, and there are initiatives for guaranteeing sustained development, even after the one hundred days in Kassel. The resulting exhibition seeks to challenge the 'traditional' status of the artwork and the 'normal' nature of spectatorship in favour of new models based on open working processes and participation.
Taring Padi, Sekarang Mereka, Besok Kita (Today they've come for them, tomorrow they come for us), 2021, installation view, Kassel, 2022, Photo: Frank Sperling.
In other words, Documenta 15 is a complex attempt to fundamentally rethink the art exhibition as a social and economic system. It more or less explicitly returns to a radical and avant-gardist tradition of artistic, curatorial, and museological experimentation, seeking to renew that tradition from the perspective of a sort of international of autonomous artist collectives. In that sense, it is a project that appears perhaps more important than ever today, at the moment of the new far right's international offensive, with its regressive policy implications, in culture and beyond. At the same time, Documenta 15 is not beyond reproach. As an exhibition, it is in several respects rather failed. What follows are some critical remarks about Documenta 15 as a general exhibition project, and about some of its guiding forms, concepts, and techniques.
(Let me note that I will not discuss the scandal about the anti-Semitic elements in one of the Indonesian collective Taring Padi's large murals, which has already been given a disproportionate amount of media attention with severe repercussions for Documenta as both an exhibition and an organisation. For the interested, I recommend this interview with Taring Padi, Eyal Weizman's clarifying account [behind paywall] of the mural's iconography and the subsequent developments, Sven Lütticken's annoyed but instructive blog post with advice about how to not become a useful idiot for far-right cultural warriors, and not least Andreas Schlaegel's comment here at Kunstkritikk.)
Exhibition as school
Documenta 15, I wrote, can be seen as a school for anti-fascist living. The claim is my own, but it is not conjured completely out of thin air. In the curatorial texts, the exhibition's pedagogical aspects are emphasised, and the importance of a sharing of knowledges between participants and guests is underlined. Several exhibition venues have been completely or partially transformed into something resembling seminar rooms or workshops, where different school-like activities take place or – more often – have taken place. The prestigious Fridericianum, traditionally the venue where documenta's key curatorial statements are installed, has for Documenta 15 been renamed "Fridskul," for "Fridericianum as a school"; many of the projects on display there take the forms of pedagogical activities or structures for housing such activities. Similarly, the enormous exhibition venue Hafenstrasse 76, an old factory building in Kassel's industrial district on the eastern side of the river Fulda (where, remarkably enough, no earlier editions of Documenta have ventured), consists in large parts of sites for ongoing or – more often – past learning.
In what sense can an art exhibition be a school? As I understand it: in a metaphorical sense, not a literal one. The exhibition as a cultural and media-technical form has certain abilities that are not available to other cultural and media-technical forms, such as the book or the theater. An exhibition can be a spatial, multimedia, and, in certain respects, social form for the presentation, organisation, and mediation of complex aesthetic and intellectual objects, where the spectator is at the same time given a large degree of freedom.
When such abilities are put to use efficiently, the results can be fantastic, lacking apparent counterparts: correspondences and contrasts can be staged between objects from different art forms and media; relations and resonances between different sensible registers can emerge; complex and in some sense interactive arrangements of images, texts, sounds, and artefacts can be orchestrated; spatial montages and visual historiographies can be constructed – all in ways distinct to the exhibition as form. In that respect – because an exhibition can give rise to specific aesthetic and intellectual experiences, even to a particular mode of knowledge – it can make sense to say, metaphorically, that an exhibition is a school.
INLAND, Crafts & Workshops materials, installation view, Naturkundemuseum im Ottoneum, Kassel, 2022. Photo: Nicolas Wefers.
Something along these lines is, to take one example, what happens at the mini-exhibition set up by the collective Inland at the natural history museum Ottoneum, close to Friedrichsplatz in central Kassel. Inland is a group of architects, artists, anthropologists, and economists who work with "the rural question," as they themselves put it. The mini-exhibition at Ottoneum is an arrangement of elements – documents and artefacts from Ottoneum's collection, found and newly made films, sound recordings of ethnographic experiments, carefully edited excerpts from sociological and anthropological texts, sculptures and paintings – that in different ways address the violent transformations of the rural landscape, from early modernity until today. The topic is, of course, completely ungraspable in its near-total scope, and the arrangement's composition of different elements does nothing to reduce their wild heterogeneity.
But, still: as we move through the exhibition spaces, as we start to make sense of texts, as we understand how a motif in a painting in one end of a room relates to a problem presented in an interview in a documentary film in the other end, as we realise what an architectural model means in relation to a series of artefacts displayed in vitrines along the adjacent wall, as the peculiar noises in the soundtrack become legible in connection to the general development that begins to assume shape out of the network of relations – as all of this happens, gradually, in spite of all, a sort of higher, non-reductive, non-synthetic form of coherence emerges which is not like that of any other form of presentation. The exhibition as form can teach us to see context in and through differences, and vice versa.
But the exhibition as form also has limitations which make it ill-suited for certain uses. For example, an exhibition is almost always temporary, both in the sense that it is open during a limited period (such as Documenta's one hundred days), and in the sense that visitors rarely or never spend limitless amounts of time there (my own three-day stay in Kassel was probably not much shorter than that of most other visitors; in any case, I had neither the time nor the means for more). A school, on the other hand, requires continuity. Students and teachers must have the time to get to know each other, gain confidence in each other; readings, practices, and discussions must have time to sink in, be digested; there must be time for a development to take place.
A real school must also confront a number of practical problems. Where should students and teachers live? How should students make a living during their studies? Should anyone be welcome to join the school? If so, how should unequal recruitment be avoided? If not, according to which criteria should the selection be made? Economic ones? Collegial ones? Local belonging? Nationality? Excellency? A teaching situation that does not permit such continuity is in any case not a school, but perhaps a workshop, or a symposium, or a congress. Exhibitions can incorporate workshops or symposia or congresses, but they cannot literally be schools without rendering the concepts of both "exhibition" and "school" meaningless.
The problems and contradictions inherent to any attempt at claiming that an exhibition is literally a school, are present at Documenta 15 as well. The collectives behind the exhibition have chosen two ways of seeking to resolve them; both are based on the idea of a liberation from spectatorship.
On the one hand, there are moments in Documenta 15 when it seems like ruangrupa and the other participants have simply decided to make an exhibition exclusively for themselves, in the form of a sort of summer school for socially-engaged artist collectives, and for which the undefined visitor of the public art exhibition – the 'spectator' – is irrelevant. The internal networking and sharing of knowledges between the participating collectives are presented as essential aspects of the exhibition project, and there are resources that facilitate long-term stays: dormitories, social kitchens, etc. These are not simply behind-the-scenes resources (the travel arrangements, hotel nights, restaurant visits, etc. that a 'normal' mega exhibition can provide to its participants), but are actively evoked as elements of the exhibition at the same time as their public accessibility appears to be limited. And even if they were completely accessible to an open public, what exhibition visitors would have the means to actually use them? Who would have the time to actually become students or to participate in long-term collective working processes?
Harvest from Hübner areal, Kassel, 2022. Photo: Kim West.
The less drastic solution to the problem of the viewer is to assert that the viewer as a concept and a social function is outdated. "We try to produce a new aesthetics – an ethical paradigm where the viewer is obsolete," as it says in a mind map reproduced in the exhibition's handbook. It is not a very original idea: the spectator should become a participant; passively distanced contemplation should be replaced with actively present practice. The central mediating form for this transformation at Documenta 15 is what ruangrupa and the participating collectives call "harvest," which should provide a 'process-based' alternative to the artwork's 'static' form, with its implied passive spectatorship. "Harvests," the handbook explains, are "artistic recordings of discussions and meetings." They are what should resolve the contradiction between the long-term continuity of the school and the limited time of the exhibition. Their purpose is to "share what is being discussed with absent members and the general public."
After having seen very many "harvests" during my visit to Documenta 15, I can establish: it does not work. Concretely, they consist of more or less quickly improvised notes, sketches, flowcharts, mind maps, and diagrams. The more carefully executed ones, some of which are reproduced in the handbook and other publications, are sometimes illustrated with funny figures and motifs, sometimes set in more vivid colors. But most of the "harvests" I see resemble what remains on a whiteboard after a lecture, if the lecturer enjoyed drawing arrows and circles around things. As an intellectual form, they are in themselves insufficient: they do not allow us to understand something of the workshop we missed; we need a workshop to understand them. As an aesthetic form, they rarely attain a higher degree of complexity than a captioned pictogram or perhaps some quick comic book sketch.
Which is not to say that "harvests" would be incompatible with the status of artwork. Not many things are, after all. ("This is a portrait of Iris Clert if I say so," comes to mind.) But "harvests" would not be very good artworks, if their status as such were to be asserted. And not in the sense that they would lack some mystic quality, some je ne sais quoi that could be transformed into value in the art world's speculative economy, but merely in the sense that their aesthetic form is simple and does not allow for complexity. To visit the parts of Documenta 15 where "harvests" are a dominating feature is a somewhat exhausting experience. After a while, I simply stop trying to read them. The notes and the sketches and the fuzzy diagrams flow together into an undifferentiated mass, the very opposite of the complex coherence-through-heterogeneity that an exhibition can propose.
Which economy?
If Documenta 15 has a critical and transformative potential today, it is therefore not to be found in how it sets artistic processes, "harvests," and participation against passive spectatorship and the artwork as a commodity and fetish. Instead, it must be sought in how ruangrupa and the participating collectives propose a different way of organising the exhibition – and perhaps, by extension, the art world as such – as a social and economic system. How does this work? What can we learn from Documenta 15? Here I can only attempt to summarise and pose some open questions, since the information is somewhat difficult to assemble, and since the project is still under development.
The guiding concept for Documenta 15 is lumbung, an Indonesian word that denotes a sort of barn where a community stores its harvest of rice. A part of the harvest is transferred to a communal pot, for use in emergencies. For Documenta 15, ruangrupa and others have translated this into a model for thinking an exhibition economy based on democratic redistribution and communal ownership. To begin with, each one of the fourteen collectives that were directly invited by ruangrupa and its team at Documenta was given a budget of EUR 25,000 in "seed money" – unconditioned money, a sort of advance fee – as well as a production budget of EUR 180,000 to finance their participation in the exhibition. The fifty other participants, both individuals and collectives, were given between EUR 5,000 to 10,000 in "seed money" and a production budget of EUR 60,000. All of the participants then placed EUR 20,000 of their budgets in a communal pot for use "during the exhibition," according to democratically made decisions.
This seems like a fascinating, but also somewhat cumbersome exercise in establishing a system for internal taxation and redistribution within a limited exhibition economy. It is not apparent, however, how such a model could be relevant after, or have long-term effects beyond, Documenta 15, with its considerable budget (EUR 42 million, around half of which comes from public funds, according to an article in the Guardian) which must be spent in total before the end of the one hundred days.
Robert Rauschenberg, This Is a Portrait of Iris Clert if I Say So, telegram, 11.6×12.9 cm, 1961. Telegram sent in 1961 by Robert Rauschenberg to his French gallerist for a portrait exhibition in her honour.
The more long-term and potentially transformative perspectives must therefore be sought in how the collaborating collectives have attempted to establish new business models that grant more favorable conditions to themselves and others working in similar situations. Here they have, on the one hand, created what they call lumbung Kios, a "network of decentralised and self-run kiosks trading goods made by the artists," where a portion of the revenues will go to a communal pot which is not constrained by Documenta's time limits and budget restraints. On the other hand, they have established lumbung Gallery, a "co-operative gallery" based on communal ownership, pricing according to collective needs, and the aim to "'transvest' resources toward a more commons-based exchange."
The lumbung kiosks can be found here and there in Kassel. They resemble a sort of mix between street market and museum shop, where visitors can buy t-shirts, posters, small scale craft objects, and multiples. I would be surprised if their sales figures were very high. The lumbung gallery, on the other hand, is a potentially interesting model, but it still appears to be in a developmental phase. It exists now as a webpage created in collaboration with the website TheArtists, from which one can send in price inquiries about some of the works in the exhibition.
What are the social and political implications of these business models? At which level do they operate? As ruangrupa has noted, its collective emerged out of the necessity to establish a sustainable structure for communal life and work against the background of the "total failure" of the Indonesian state at the end of the 1990s, when the Suharto regime was overthrown and Indonesia entered into a comprehensive economic crisis [The Collective Eye, Thoughts on Collective Practice: In Conversation with ruangrupa (Berlin: Distanz verlag, 2022), 46]. It writes in the handbook that just like many of the collectives in Documenta 15, it comes from a context where "the state had failed to support the development of infrastructure and a support system for art and culture." A lack of trust in state or super-state institutions marks ruangrupa's political outlook. The ecosystem of cultural organisations that it wants to cultivate with Documenta 15, should therefore be located at a sort of infra- or micro-political level, before or beneath state level.
The question is whether this is a sufficient or meaningful way to think the social and political potentials of a mega-exhibition with a gigantic and mostly publicly funded budget. Of course, I do not mean that ruangrupa or other participants should express greater gratitude to the taxpayers of the German federal republic or the state of Hesse; I mean that I do not see how the model that they've developed could be generalised, that is, become political in some more eminent meaning of the term, without critically interrogating its own political and economic conditions or proposing an alternative. How could this become an applicable or even theoretically coherent model for thinking the economy of the international of autonomous artist collectives, which at the same time figures at the social and political horizon of Documenta 15 as a project?
Lumbung gallery's aim to "'transvest' resources toward a more commons-based exchange" is in this respect interesting, but it remains somewhat mystical, and it is hard to see how such a model could by itself have some sort of transformative effects at a larger cultural and social scale. The concept of the "commons" – neither state sanctioned public sphere nor 'free' market – also appears to assume something of a magical role here, as a sort of placeholder for the political and institutional level that is precisely not taken into consideration. But if that level is dismissed, is there not a risk that the result is simply exposure to the wilfulness of pure market forces? Is there not a risk that the whole thing becomes libertarianism and small business ventures? It is difficult to see that as a path toward a more sustainable ecosystem.
Foundation Class Collective, Becoming, 2022, Małgorzata Mirga-Tas, from the series Out of Egypt, 2021. Installation view, Fridericianum, Kassel, 2022. Photo: Frank Sperling.
Never Mind the Germans
Is the scandal engulfing Documenta 15 a tragedy of the arts, criticism, or the German debate on anti-Semitism?
By Andreas Schlaegel 30.06.22 Commentary
Make Friends, Not Art
Documenta 15 is all about networking.
By Sinziana Ravini 22.06.22 Review
Documenta Vandalised
Anonymous threats of violence are the culmination so far of the discussion surrounding the Palestinian artists' group The Question of Funding and its participation in Documenta 15.
By Louise Steiwer 07.06.22 News
Palestinian Documenta Participants Accused of Anti-Semitism
Documenta has countered that the allegations are false, but is putting a lid on further discussion until an upcoming panel debate.
By Karen Fosse Rosness 03.03.22 News
Collectivist Documenta
CAMP's Frederikke Hansen joins the curatorial team behind the next Documenta, while the Trampoline House becomes a 'lumbung partner'.


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Home Technology Mojang invites soldiers to vote for the next Minecraft gang
Mojang invites soldiers to vote for the next Minecraft gang
Seth Sale Sep 28, 2020 0 Comments
There is a huge fan base Minecraft Video game rights. It received not only ports for mainline output, but also spin-offs. Over the years, the number of fans continues to grow, and while Mojang has been offering some more new updates to further expand the content for players to enjoy, it has been confirmed that this next big update will show a new mob for the game. However, what makes it even better is that the fan will get into the new gang game after winning the Army votes.
As mentioned, Minecraft Has some spin-off video games, and some of those titles include creatures not officially available on the site Minecraft Title. It could turn into a lucky mob after voting on October 3, 2020. This announcement came from the officer Minecraft Twitter account. According to the tweet, Mojang invites fans to join a live stream on October 3, 2020, which will highlight some of the upcoming Minecraft Update details. Most importantly, however, there will be a vote between the three gangs involved Minecraft Such as spin-off topics Minecraft dungeons.
The three gangs to vote for are Moon Bloom, Isologer and finally, Closkit. Depending on the votes, one-third will be added to the upcoming list Minecraft Update. This means that the development team in Mojang has requirements to bring one of the gangs into the game without any problems. In upcoming updates, we'll see all three gangs eventually make it to the main topic.
For now, it looks like you can vote during the show, but we don't know how long we will have to wait before the mob gets our results for the winner. For now, you can enjoy Minecraft Currently supported operating systems are PC, PlayStation 4, Xbox One, Nintendo Switch, iOS and Android operating systems.
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WhatsApp | How To Download A Video or Photo Once Seen | Only eleven | Download | Applications | Smartphones | Nnda | nnni | Game-game
Samsung's affordable high-end smartphone for 2020 gets the first big update of the year

redpajama_set_name: RedPajamaCommonCrawl


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Q: fft() get amplitude, frequency, phase and invert back in series I am very bad at spectral analysis, so please forgive me for stupid questions.
I found someone's code on the net to calculate the amplitude of the frequency and phase
y <- rnorm(50) # some series
samp.freq <- 10
N <- length(y)
fk <- fft(y)
fk <- fk[2:length(fk)/2+1]
fk <- 2*fk[seq(1, length(fk), by = 2)]/N

freq <- (1:(length(fk)))*samp.freq/(2*length(fk))
amp <- Mod(fk)
pha <- Arg(fk)

My question is: knowing freq ,amp, pha how can I restore back the y series
This code is not obligatory for me, it is important for me to see how I can get the amplitude, frequency, phase from the series, and then assemble the series back

A: You won't be able to restore fully the timeseries as fft result is subsampled :
fk <- 2*fk[seq(1, length(fk), by = 2)]/N

meaning you're losing some frequencies.
Without subsampling, restoration can be done with inverse fft :
set.seed(123)
y <- rnorm(50) # some series
samp.freq <- 10
N <- length(y)
fk <- fft(y)

# No subsampling
#fk <- fk[2:length(fk)/2+1]
#fk <- 2*fk[seq(1, length(fk), by = 2)]/N

freq <- (1:(length(fk)))*samp.freq/(2*length(fk))
amp <- Mod(fk)
pha <- Arg(fk)

fk.restored <- amp * complex(real = cos(pha),im = sin(pha))
y.restored <- Re(fft(fk.restored,inverse=TRUE)/length(fk))
all.equal(y.restored,y)
#> [1] TRUE

redpajama_set_name: RedPajamaStackExchange


text:
require 'spec_helper'

describe 'Serially::TaskRun' do

  context 'creating' do
    it 'should fail if mandatory fields are not present' do
      task = Serially::TaskRun.new
      task.should_not be_valid

      task.item_class = SimpleClass.to_s
      task.should_not be_valid

      task.item_id = '126'
      task.should_not be_valid

      task.task_name = 'validate'
      task.should be_valid
    end
    it 'should fail if item_id exists already' do
      create_args = {item_class: SimpleClass.to_s, item_id: '123', status: 1, task_name: 'validate', task_order: 0}
      task1 = create_task_run_from_hash(create_args)
      task1.should be_valid

      lambda { create_task_run_from_hash(create_args) }.should raise_error

      task2 = create_task_run_from_hash(create_args.merge({task_name: 'enrich', task_order: 1}))
      task2.should be_valid

      task3 = create_task_run_from_hash(create_args.merge({item_id: 124, task_order: 2}))
      task3.should be_valid
    end
  end
end

redpajama_set_name: RedPajamaGithub


You are purchasing a Disney Shopping exclusive pin featuring Jessica Rabbit. You will receive the pin in good condition with normal trading wear and tear. Pin was released and is no longer available. Photo is private property of My-D Pins and Collectibles. Photo is of the actual pin you are purchasing. Don't miss out on this pin! We apologize for the inconvenience. The item "Disney Store Shopping LE Pin Jessica Rabbit Dressed as Costume Evil Queen" is in sale since Saturday, October 27, 2018. This item is in the category "Collectibles\Disneyana\Contemporary (1968-Now)\Pins, Patches & Buttons\Theme Parks\Disneyland/DCA". The seller is "mydpins" and is located in Anaheim, California. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Israel, Mexico, New Zealand, Philippines, Singapore, Norway, Saudi arabia, Ukraine, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Malaysia, Chile, Colombia, Costa rica, Panama, Trinidad and tobago, Guatemala, Honduras, Jamaica, Bahamas, Uruguay, El salvador.


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Home>Shop>Motorsport Photography>Formula 1>1990-1999>British GP 1991
British GP 1991
Nigel Mansell won from pole position in a Williams FW14 at the 1991 British Grand Prix, held at Silverstone. Rival Ayrton Senna, driving a McLaren MP4, ran out of fuel on the last lap but was classified fourth
Nigel Mansell, Williams FW14, British Grand Prix, Silverstone, 1991.
Winner Nigel Mansell, Williams FW14, British Grand Prix, Silverstone, 1991.
Nigel Mansell, Williams FW14, and adoring crowd, Silverstone, British Grand Prix 1991.
Ayrton Senna, McLaren MP4, Silverstone, British Grand Prix 1991.
Nelson Piquet, Benetton B191, Silverstone, British Grand Prix 1991.
Nigel Mansell celebrates his vistory, Silverstone, British Grand Prix 1991.
Nigel Mansell, Williams FW14, Silverstone, British Grand Prix, Silverstone, 1991.
Riccardo Patrese, Williams FW14, Silverstone, British Grand Prix 1991.
Gerhard Berger, McLaren MP4-6, in the pits during practice for the 1991 British Grand Prix at Silverstone.
Alain Prost, Ferrari 643, Silverstone, British Grand Prix 1991.
Riccardo Patrese, Williams FW14, and Gerhard Berger, McLaren MP4-6 at Copse Corner on the first lap, Silverstone, British Grand Prix 1991.
Nigel Mansell, Williams FW14, throws his cap to the crowd after winning the 1991 British Grand Prix at Silverstone.
Winner Nigel Mansell, Williams FW14 , Silverstone, British Grand Prix 1991.
Gerhard Berger, McLaren MP4-6, Silverstone, British Grand Prix 1991.
Alain Prost Ferrari 643, Silverstone, British Grand Prix 1991.
Ayrton Senna, McLaren MP4-6, Silverstone, British Grand Prix 1991.
Mika Hakkinen, Lotus 102B, Silverstone, British Grand Prix 1991.
Mauricio Gugelmin, Leyton House CG911, Silverstone, British Grand Prix 1991.
Roberto Moreno, Benetton B191, Silverstone, British Grand Prix 1991.
Jean Alesi, Ferrari 643, Silverstone, British Grand Prix 1991.
Gianni Morbidelli, Minardi M191, Silverstone, British Grand Prix 1991.
Race winner Nigel Mansell on the podium, Silverstone, British Grand Prix 1991.
Jean Alesi, Ferrari 643, leads Alain Prost, Ferrari 643, Silverstone, British Grand Prix 1991.


Teaming up with the world's best Cyclo-Cross rider ever.
From January 2012 up to 2015, we will be designing, developing and distributing a unique Sven Nys Cycling collection with a range of Cycling Wear and Casual wear. But the goal of the partnership between Sven Nys and PinkOliv is to establish a long term vision on Sven's name as a trusted brand.
The first outcome of the project, the launch of the 'Legacy' collections and the new approach to the brand, is very successful and proved that PinkOliv's approach to the brand is both very unique and effective.


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Written by	Julie Roys
2019 was a banner year for exposing corruption and abuse in the evangelical world. Nearly 3.4 million people visited my blog last year, which exceeded even 2015 when a post of mine about abortion survivor Gianna Jessen went viral. Most of my top stories concerned either James MacDonald or Harvest...
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Yesterday, Paul Lundquist, a former linguist with Wycliffe Bible Translators who now works at a chemical factory in the Chicago suburbs, wrote a stunning open letter to me. His observations about the state of the evangelical church are profound. And whether you agree or disagree, I believe...
Top Charismatic Leaders Disqualify Todd Bentley From Ministry for "Steady Pattern of Ungodly and Immoral Behavior"
About 16 months after explosive accusations of harboring a "perverse sexual addiction" and preying on interns, Fresh Fire USA leader, Todd Bentley, has been disqualified from public ministry by a panel of six charismatic, Christian leaders. The panel, led by apologist Dr. Michael Brown,...
The Selective Outrage of Mark Galli Christianity Today
Christianity Today (CT) Editor in Chief Mark Galli simply can't contain his outrage over the moral depravity of President Trump. Last Thursday, just weeks before his retirement, Galli unleashed a scathing editorial calling for Trump's removal. Labeling Trump's actions...
Owners of Buildings Leased to Harvest Bible Chapel Under Scrutiny May Owe Hundreds of Thousands in Property Tax
For the past four years, two limited liability companies (LLCs) that own and lease buildings to Harvest Bible Chapel have escaped paying hundreds of thousands of dollars in property tax. But that soon may change. These LLCs have been treated like tax-exempt nonprofits, even though they're...
James MacDonald Sues Fellow Believer Again–This Time It's Mancow
Barely a month after issuing a public "repentance," and apologizing for a lawsuit he called "fearful and defensive," disgraced, former Harvest Bible Chapel senior pastor, James MacDonald, has sued a believer again. This time, the target is Chicago radio personality Mancow...
Saturday, 14 December 2019 05:57
Boz Tchividjian to Step Down From Organization He Founded to Fight Abuse
Boz Tchividjian, the founder of G.R.A.C.E.—a leading organization that equips religious groups to deal with sexual abuse—today announced that he will be resigning as executive director of the organization in May. During an interview on The Roys Report, Tchividjian also said he...
Video: Hybels' Accuser Her Husband Tell of Trauma Urge Church to Help Abuse Victims
When Vonda Dyer came forward in 2018 and publicly disclosed how her former pastor, Bill Hybels, had come on to her in a hotel room in Sweden, she had no idea how it would change her life. "I had no idea that the church that I loved would not believe me and the nine other …
Video:...
Why I Believe in God: My Conversation with Atheist Tom Jump
I recently was invited to discuss why I believe in God with atheist Tom Jump. At first, I was hesitant to participate, mainly because this is such a busy season and I didn't really have time to prepare for a debate. Plus, I wondered whether those who watch Tom's popular YouTube channel...
Giving Thanks for An Incredible Year
This time last year, I was embroiled in a lawsuit with Harvest Bible Chapel and James MacDonald. My professional reputation was in jeopardy as Harvest regularly published updates, accusing me of attempting to "stir up gossip, sow discord, inflame old animosities" and "discredit...
Video: Wade Mullen on How to Spot Spiritual Abuse
Is there something wrong with me? Am I the only one who sees this? How do I get out of here because everywhere I turn, there's a wall? These are the questions that often plague those caught in a spiritually abusive system, explained Wade Mullen, director of the MDiv program at Capital...
James MacDonald Responds to Harvest Report: Claims He's Innocent of Misusing Church Funds
Disgraced former Harvest Bible Chapel pastor, James MacDonald, today responded to damning evidence that he misused millions of dollars of church funds by asserting his innocence. He also expressed disappointment that Harvest would publicize the results of its financial review while MacDonald and...
Harvest Report Shows "Massive…Governance Failure," Allowing James MacDonald to Misuse Millions
Harvest Bible Chapel (HBC) suffered "a massive corporate governance failure," which enabled former senior pastor, James MacDonald, to "extensively" misuse millions in church funds "for improper financial benefit." This was the conclusion of a financial review,...
Video: An Unmistakable Move of God to Purify His Church
In the past 24 months, journalists and bloggers have exposed rampant abuse and corruption in the evangelical church—from James MacDonald and Harvest Bible Chapel to Bill Hybels and Willow Creek, the Moody Bible Institute, the Southern Baptist Convention, Gospel for Asia, Liberty University,...
Video: Nancy Beach on Surviving Abuse With Your Faith Intact
"I never had a category in my mind and heart for the capacity of Christians to behave so sinfully," admitted Nancy Beach, former program director at Willow Creek Community Church, and one of the women to expose abuse by former pastor, Bill Hybels. "But this is to forget or deny...
Video: James MacDonald's "Repentance" Doesn't Appear to Meet Standard He Expressed in Sermons
One of the hallmarks of true repentance is whether a person volunteers his confession. "Or," in the words of former Harvest Bible Chapel pastor, James MacDonald, "did he just get caught?" These words of wisdom, which MacDonald uttered in a 2017 sermon, seem ironic given...
James MacDonald Issues "My Repentance" on Facebook
Disgraced former Harvest Bible Chapel pastor, James MacDonald, today posted his "repentance" on Facebook, saying he was sorry for "careless and hurtful words that were illegally recorded," and claiming that he had regressed into "sinful patterns" in late 2016....
RESTORE Chicago Video: Lina AbuJamra's Powerful "Letter of Forgiveness Over Church Hurt"
Before I began investigating Harvest Bible Chapel, I had no idea the depth of pain and devastation inflicted on people by abusive pastors. But as Lina AbuJamra so aptly described at the RESTORE Chicago conference on Saturday, church hurt isn't a wound that heals and leaves a scar. It's...
Elders at Harvest Formally Disqualify James MacDonald From Ministry
The Elders at Harvest Bible Chapel today formally disqualified former pastor, James MacDonald, from ministry, saying his behavior did not meet the qualifications for an elder, according to Scripture. Elder Karl Jackson read the following letter to the congregation: Dear Harvest Bible Chapel Family,...
Disgraced Pastor Mark Driscoll to Speak at Larry Osborne's Conference on "Healthy, Thriving Ministries"; Sponsors Drop
Mark Driscoll, the disgraced, former pastor of Mars Hill Church who resigned amid allegations of bullying and abuse of power, is slated to headline Sticky Teams West 2020—a "premier leadership conference," on building "healthy, thriving ministries." As a result,...
Willow Creek Crystal Lake Attenders Angered Over Hybels' "Golden Parachute" Elders' Actions That Led Pastor to Resign
About 120 attenders of Willow Crystal Lake reportedly packed an elder "listening session" after services on Sunday, expressing anger over actions by the elders of Willow Creek, which led to the resignation of their campus pastor, Marcus Bieschke. Longtime member, Jim Bedell, who's...
Chicago-based Megachurch Welcomes James MacDonald Into Fellowship
Last week, New Life Covenant Church invited disgraced former pastor, James MacDonald, to speak at its men's retreat. And today, the multi-site megachurch reportedly welcomed MacDonald and his wife into fellowship, bringing them on stage and praying publicly for them. Kim Matthews, a woman who...
Jeffress Defends Endorsement of Paula White's Book, But Admits He Hasn't Read it "Word for Word" or Researched Her Theology
Prominent Southern Baptist Preacher, Robert Jeffress, is defending his decision to endorse a book by controversial preacher, Paula White, saying her book does not promote "prosperity gospel." However, when pressed about whether he's certain that there's nothing in...
Leading Evangelicals Endorse Prosperity Preacher Paula White's New Book
Paula White, the thrice married, prosperity preacher worth millions, who chairs Donald Trump's evangelical advisory board, was once considered a pariah by most all leading evangelical leaders. Russell Moore, head of the Ethics and Religious Liberty Commission of the Southern Baptist...
James MacDonald Makes First Public Appearance at Men's Retreat for Chicago-based Megachurch
Disgraced former celebrity pastor, James MacDonald, this weekend made his first public appearance since being fired from Harvest Bible Chapel for engaging in conduct "harmful to the best interests of the church." MacDonald reportedly taught at a men's retreat for New Life Covenant...


Makeup Artist Pays Homage to My Candy-Colored Sultry Eye!
I hope everyone is having an AMAZING long weekend! I'm about to leave for the Farmer's Market with my husband, but I wanted to post these fun shots (excuse the quality; I took them with my phone) of Audrey Ogg, a Makeup Artist at Milvali Salon in Mill Valley, CA. When I went into the Milvali Salon Friday to get my lashes filled in by the talented Joceyln Sisco, I was blown away when I saw Audrey in a candy-colored sultry eye! She told me she was inspired by my Allure Magazine Beauty Blogger Competition video and wanted to recreate the look. Now keep in mind I saw Audrey at 3 pm and she had put her makeup on early that morning so obviously the eye lost some of its candy-color, but it still looked amazing!! And by the way, Jocelyn gave Audrey those luscious lashes.
Wowza! I'm a Finalist in Allure Magazine's Beauty Blogger Awards!!!


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The Sarasota County Sheriff's Office is advising the public that Paul D. Allen, DOB 03/26/87, has registered as a Sexual Offender living in Sarasota County.
Allen was convicted in 2008 in New Hampshire of Felonious Sexual Assault on a Victim Under 16 Years Old. He was sentenced to six months in jail followed by two years of probation. Following his release, he was again convicted in 2009 for Failure to Register as a Sex Offender and sentenced to an additional six months in jail followed by five years of probation. Allen later failed to meet registration requirements twice more and was sentenced to another four years in prison. He was just released in September and reports his new temporary address is 975 University Parkway in Sarasota. He is currently under the supervision of the Florida Department of Corrections however, due to the date of his original conviction, residency restrictions do not apply.
This information is posted on the Sarasota County Sheriff's Office website, along with agency Facebook and Twitter accounts to publicly notify citizens of sex offenders and predators who register a Sarasota County address for the first time, when moving into the county, or following a release from prison. Citizens should still sign up to receive notifications from FDLE of sex offender and predator registrations.


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India-China trade grows to record $125 billion in 2021 despite tensions
Jan 14, 2022 7:10 PM , 7 news, a view
The India-China bilateral trade touched a record high of over USD 125 billion in 2021, crossing the USD 100 billion-mark in a year when the relations hit a new low due to the prolonged standoff by the militaries in eastern Ladakh, while India's trade deficit too mounted to over USD 69 billion, according to official data released on Friday.
The total trade between China and India in 2021 stood at USD 125.66 billion, up 43.3 per cent from 2020, state-run Global Times reported, quoting data from the General Administration of Customs.
China's exports to India from January to December rose 46.2 per cent to USD 97.52 billion, while India's exports to China grew by 34.2 per cent to USD 28.14 billion.
Read on Business-standard ›
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Bihar Doctor Took 5 Covid Vaccine Doses, Show Records


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Writing Exercises Inspired by Contemporary Stories
Read to Write Stories
The Writer's Field Guide to the Craft of Fiction
Exercises and Prompts
How to Find a Premise for a Story
How to Develop a Premise into a Story
How to Describe Setting
How to Create and Develop Characters
How to Write a Scene
How to Structure a Story
How to Move Through Time and Space
How to Write (Or Write Around) Plot
How to Raise the Stakes
How to Build Suspense
How to Write with Style
Interviews with Writers
Tag Archives: story beginnings
An Interview with Erika T. Wurth
Erika T. Wurth is the author of four books, most recently the story collection Buckskin Cocaine.
Erika T. Wurth's published works include a novel, Crazy Horse's Girlfriend, two collections of poetry, Indian Trains and One Thousand Horses Out to Sea and a collection of short stories, Buckskin Cocaine. A writer of fiction, nonfiction, and poetry, she teaches creative writing at Western Illinois University and has been a guest writer at the Institute of American Indian Arts. Her work has appeared or is forthcoming in numerous journals including Boulevard, Drunken Boat, The Writer's Chronicle, Waxwing and South Dakota Review. She is Apache/Chickasaw/Cherokee and was raised outside of Denver.
To read the story "Mark Wishewas" from Buckskin Cocaine and an exercise on helping readers connect with characters, click here.
In this interview, Wurth discusses narrative arcs in collections of interlinked stories, effective climaxes, and the shape of stories.
Michael Noll
This is a collection of linked stories, and often when I read linked collections, there's a kind of novelistic sensibility, a sense of growing bigger and broader. But in this collection, I found myself feeling the opposite, almost claustrophobic. This seemed intentional. The characters often seem to feel this way, too, repeatedly referencing the same places and institutions and people with an increasingly intense mixture of frustration and love. How did you think about narrative arc between stories? Was there a particular journey you wanted to take readers on?
Erika T. Wurth
Although I have become increasingly interested in interlinked stories, I feel like there should be a reason why something is a collection of short stories and not a novel. I think that that's the fault of what agents and big presses think the public wants, which they always think the public wants a novel. That said, I'm really super bored by collections that are ubiquitous in terms of characterization, where the only commonality is in terms of theme and tone (and man, those collections sound the same to me). I ultimately wanted the stories in Buckskin to stand alone – but still work very well together. All of the personalities are dark – though sympathetic to a degree, and the journey I wanted people to go on was starting with the darkest personality and the least sympathetic and ending with the most sympathetic (with the novella), resulting in a cumulative feeling of what it is like from the inside in the native film world (though the analogies to the writing world are there). The native film world is so brutal and it's not talked about. I thought it would be interesting for non-natives to see a dark and sometimes satiric – but more natural version of native life. And for natives to look at that darkness and have something to process it with.
In several of these stories, the narrators quickly establish traits that make them fairly difficult to be around. Mark Wishewas, for instance, says things like this about his girlfriend: "And I know I keep having sex with her, but it's just because I'm so used to her by now." But the reader's relationship (at least mine) to the characters changes as the stories go along. The characters don't necessarily change, but we/I find ourselves feeling more warmly toward them. This seems like a different way of thinking about plot and conflict, making it as much about the reader's relationship to the work as it is about the character's growth or transformation. Is this something you were aiming for?
I personally think an effective climax is not one that comes from above. Too many people mistake action for drama, and they have a story that has a series of actions that leads to a revelation that doesn't seem earned. Personally, I think the most interesting fiction is driven by character. If it's driven by character, then the decisions they make will be organic and there will eventually be an internal climax, which to me is authentic – and one where the main character has changed. And the main characters in this collection often change by just knowing that they can't, like in Mark Wishewas. He tells himself that he knows his career is set but he's smart enough to know that it isn't – and that he's fooling himself, and that he will continue to do so.
The stories in this collection use a lot of different forms. Some are pretty straightforward, but others use repetition, as in the paragraph/stand-alone sentence form of "Gary Hollywood." Others use a space breaks frequently, and some don't. At what point in a draft do you begin to sense what shape a story will take?
I guess I decide on the form in a kind of organic way once I've felt the character really rise up. It's not like I start writing something and then it becomes something, though I'm very led by voice and I don't like plotting something out deeply beforehand. Ultimately, with this collection I knew that since I hadn't written a poem in a long time, that part of me was probably gone and so I thought what I'd like to do is take some poetic technique like repetition and the vignette and see what I could do with it in prose. A lot of that was born out of thinking about how people talk about traditional versus experimental/postmodern and how sometimes people use those terms without any concrete definitions – and they seem to use them in order to beat each other up, and I find that really uninteresting. I've always thought that form should mirror the content. For example, the first story is written from the POV of somebody who is truly shattered and so that's why it's in a series of vignettes, many of them standing for different parts of himself that have nearly split themselves off from the other parts and are holding those other parts hostage.
Almost all of these stories begin with direct references to Indians or Natives, the narrators placing themselves within that identity. In an interview in The Rumpus, you talked about publishing and said, "It stinks that we have to go outside of our community to be published. But even the Native presses like University of Arizona, University of New Mexico—those are the ones that are left—they kind of repeat the same narrative. Very few Natives are in charge of that." Were you intentionally pushing against that usual narrative with these stories—or did the characters you created just naturally start pushing against it?
The characters are native because that's my world. I think that most people reflect in an imaginative and poetic way, the world that they come from and the world that they're in. 80% of what I write is still completely made up. What kills me is when white people write racist and two-dimensional characters that's seen as a really admirable artistic stretch, when most of us do best by writing again, imaginatively and poetically around what we know, even if it's not autobiographical at all. And I do think that I've done some thinking, a lot of thinking over the years about not being a writer who talks overtly about issues and racism, even though obviously those things are in there. I want to write about my world and I feel like I have the same right to do that, that white folks do. Why should my job constantly be educating white people when white people are not sitting around with that same job. I want to write about my tribe in the same way Salinger did about his. Or Richard Wright about his. I want my work to be, and I'm using these words a lot but, an organic and imaginative expression of what I'm interested in and the world that I know. So I think that it seems resistant only because so many native writers are celebrated for centering whiteness by either doing a version of Indian that's very palatable (defined by their sadness because of whatever experiences they have with racism) or by constantly talking about racism in an overt way, which just centers white people again—it doesn't allow me the artistic space to write what I want to write about.
Michael Noll is the Editor of Read to Write Stories.
Tags: Buckskin Cocaine, Erika T Wurth, linked stories, Mark Wishewas, narrative arcs, story beginnings, writing exercises
Categories Writers on Writing
An Interview with Matthew Salesses
Matthew Salesses is a Ph.D. student in Creative Writing at the University of Houston and, already, the author of three books, most recently the novel The Hundred Year Flood.
Matthew Salesses is the author of The Hundred-Year Flood. His other books include the essay collection Different Racisms and the novel I'm Not Saying, I'm Just Saying. He was adopted from Korea and has written for NPR Code Switch, The New York Times Motherlode, Salon, The Good Men Project, The Toast, The Millions, Glimmer Train, PEN/Guernica, and has received awards from the Bread Loaf Writers' Conference, Glimmer Train, Mid-American Review, PANK, HTMLGIANT, Emerson College, Inprint, and the University of Houston.
To read an excerpt from The Hundred-Year Flood and an exercise on finding a story's beginning, click here.
In this interview, Salesses discusses chapter beginnings, the inspiration of The English Patient, and how the critical rhetoric around a book matters.
The first paragraph of Chapter II is dazzling in how much information it handles in such a compact, tight narrative passage.
How long did it take to get it into its current form?
Matthew Salesses
It was actually shorter before. I added Tee's response and the container (as a way to show Tee's version of passivity and activeness) very late in my edits. Tee's girlfriend's words in Boston act like a kind of prophecy. She says things that can guide him either by following them or resisting them, but they break up before the plot starts. Her words echo.
I'm curious about the pacing of this novel. There's a kind of dreamlike quality to it. It switches back and forth between characters (Katka and Ynez, for instance) in a way that they begin to blend together. And in the switch, the narrator will do things like pick up a book and read a line like this: "The presence of want awakens in him nostalgia for wholeness." It's such an ethereal, meaning-packed line. What models did you have for this sort of narration?
I thought a lot about Ondaatje's The English Patient, even as far as the books he uses in it as a guide. The line from Anne Carson ["The presence of want awakens in him nostalgia for wholeness"] was, for a long time, a line from Henry Miller: "the guardians of secret crimes" or something.
Matthew Salesses' novel The Hundred-Year Flood has been called "epic and devastating and full of natural majesty." It follows a young man to Prague as he struggles to understand his identity and how it fits into the world.
The novel is very much about art and questions of how the artist and subject are revealed (or not) in a piece of artwork. So, the characters discuss poetry, we see various paintings and their creation, and the narrator spends a lot of time thinking about big questions about identity, memory, and art. This seems to be where the heart of the novel lies, which makes me curious about plot. How did you find or develop a plot mechanism that would give you the space needed for the characters to address these questions?
Interesting! It makes me happy that different readers can bring to the book different interpretations. I didn't think about the art/subject question in terms of plot. The plot is basically a love story. Though it's a love story that begins with Tee as an artist's model, as an object, of sorts.
You've written in various places about how people of color are treated in American literature. It's not, you've said, simply that most books are about white characters but that when people of color do appear in novels and stories, they're portrayed in a handful of predictable ways. There aren't many novels in which, as in this case, a Korean-American travels abroad. The Innocent Abroad and The Ugly American are almost always white. Do issues like these inform your writing? In other words, do you see a lack or absence in the books around you and think, "I'm going to fill that absence?" Or are you simply writing the stories that occur to you and then realizing that there is very little else like them?
I was actually thinking of books about other Americans abroad as "like mine." Most people don't seem to see the book as part of that tradition. It's kind of fascinating. We need more books where people of color do things white Americans have done in fiction for ages. But on the other hand, the fact that my book is seen as filling an absence creates the situation where we don't get more of those books. It's like we're expected to plug holes.
Tags: Anne Carson, Matthew Salesses, story beginnings, The English Patient, The Hundred-Year Flood, writing exercises
One of Poets & Writers' "Best Books for Writers"
THE WRITER'S FIELD GUIDE FOR THE CRAFT OF FICTION features all-new essays and exercises built around one-page excerpts from recent bestsellers and award-winners from different genres.
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Michael Noll's collection BULLHEADS named a finalist for the 2018 Flannery O'Connor Award for Short Fiction
Check out the official announcement here!
Read Michael's story "Foreign Exchange" in the latest issue of Crazyhorse.
Want to read Michael's fiction? Find it in The Best American Mystery Stories 2016.


The Wetaskiwin Ladies Night Out committee fed and entertained 230 area women during their annual event in support of the Wetakiwin Health Foundation April 6.
Maskwacis RCMP are asking for the public's assistance in locating a missing woman.Ashley Raine was last seen in Louis Bull on April 2.
Wetaskiwin's Waterworks Players are putting the finishing touches on an epic Spring production of Evita.
NDP candidate and local MLA Bruce Hinkley said his government's record of action is what people should be thinking about when it comes time to vote.
United Conservative Party candidate Rick Wilson believes things have to change in Alberta.Wilson has been campaigning on a platform that debt and deficits equals future taxes.
The local Alberta Advantage Party candidate said his party has the best plan for putting money back into the pockets of Albertans.
Wetaskiwin city council approved a three per cent tax increase when it met during a Special Council meeting March 28.
Wetaskiwin City council made some changes to a bylaw that will allow for intermodal containers in the city, but they're still not allowing them at the airport.
The City of Wetaskiwin wrapped up National Volunteer Appreciation Week with a tea for its volunteers at the Memorial Arts Centre April 12.
Council approves local improvement plan for 49 Ave.
In the early morning hours of April 14, Wetaskiwin RCMP responded to a theft in progress in rural Wetaskiwin County.


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Home / Entertainment News / Latest News / Warner Bros. CEO Kevin Tsujihara ousted after sexual misconduct allegations
Warner Bros. CEO Kevin Tsujihara ousted after sexual misconduct allegations
byanca martie 20, 2019 0
Warner Bros. Chairman and CEO Kevin Tsujihara has been ousted after an investigation into sexual misconduct allegations.
"Kevin has contributed greatly to the studio's success over the past 25 years and for that we thank him," WarnerMedia CEO John Stankey said in a statement Monday. "Kevin acknowledges that his mistakes are inconsistent with the company's leadership expectations and could impact the company's ability to execute going forward."
The company has yet to name a successor for Tsujihara.
Tsujihara was being investigated for allegedly promising acting roles in exchange for sex. The Hollywood Reporter was the first to report such allegations in early March.
THR's report included text messages between Tsujihara and British actress Charlotte Kirk going back to 2013. WarnerMedia had previously said that a prior investigation did not find any misconduct in Kirk's casting in films like "Oceans 8."
Some of these messages seemed to imply that Kirk believed she was used to help close a $450 million co-financing deal between Warner Bros. and RatPac Entertaintment, a production company owned by Australian billionaire James Packer and his business partner Brett Ratner.
RatPac Entertainment was a major partner of Warner Bros' films like "Justice League," "It" and "Kong: Skull Island."
"I emphatically deny any inappropriate behaviour on the part of Brett Ratner, James Packer, and Kevin Tsujihara, and I have no claims against any of them," Kirk said in her statement at the time. "Mr. Tsujihara never promised me anything."
Ratner was accused of sexual misconduct in 2017 by several women, which he denied. Warner Bros. cut ties with him and his company in 2018.
WarnerMedia, which is owned by AT&T, said it is continuing to work with a third-party law firm to complete its investigation with Tsujihara's cooperation.
Tsuijhara, 54, had been with the WarnerMedia unit for more than 24 years. He became CEO in early 2013 and became chairman position later that year. Tsuijhara, the first executive of Asian decent to head a major Hollywood studio, led Warner Bros. to have its most profitable year ever in 2017.
However, also under Tsuijhara's tenure, Warner Bros. struggled to produce DC superhero films at the same caliber of its counterparts at Disney and Marvel Studios. It wasn't until 2017's "Wonder Woman" that the studio found true success, taking in $821 million in ticket sales worldwide. A year later, "Aquaman" became the first DC film to cross the $1 billion mark.
After first announcing a deal to acquire Time Warner in 2016, AT&T closed the merger in June 2018. With Tsuijhara's departure, all of the management that joined AT&T from Time Warner is now gone. Jeff Bewkes, former CEO of Time Warner; John Martin, former CEO of Turner and Richard Plepler, former CEO of HBO, have all departed the company in the last year.
AT&T's stock remained relatively unchanged in midday trading.
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Bergen, Norway, January 9, 2018 – BerGenBio ASA (OSE:BGBIO), a clinical-stage biopharmaceutical company developing novel, selective Axl kinase inhibitors as a potential cornerstone of combination cancer therapy, announces that the first efficacy endpoint has been met in its phase II clinical trial evaluating BGB324 (bemcentinib), a selective AXL inhibitor, in combination with erlotinib in patients with advanced non-small cell lung cancer (NSCLC) who have progressed on an approved EGFR inhibitor (ClinicalTrials.gov Identifier: NCT02424617).
Arm A is designed to determine the daily dose of bemcentinib that can be safely administered in combination with erlotinib in patients who have received prior erlotinib therapy. This arm is completed and a recommended phase II dose has been established.
Arm B follows a Simon-like two-stage design evaluating the ability of bemcentinib to restore sensitivity to EGFR targeted therapy when given in combination with erlotinib in patients who have progressed on prior therapy with an approved EGFR inhibitor and that are negative for the T790M mutation. This arm has successfully completed its first stage (announced today). The initial endpoints of the first stage of Arm B were exceeded. An overall disease control rate of 33% was reported in patients who completed at least one cycle of treatment (n=9) thus providing preliminary proof of concept that bemcentinib can restore sensitivity to EGFR targeted therapy in some patients.
Arm C is designed to evaluate the ability of bemcentinib to prevent acquired resistance to EGFR targeted therapy when given in combination with erlotinib first line. This arm is recruiting patients with interim results expected mid-2018.
The Company expects to present clinical data from this study at an international cancer conference during 2018.
Lung cancer is the leading cause of cancer death among both men and women and it is estimated that around 200,000 new cases of non-small cell lung cancer (NSCLC) will be diagnosed in the US in 2018. 15-20% of NSCLC cases are EGFR mutant (EGFRm) leading to constitutively active epidermal growth factor receptor (EGFR) signalling driving the growth of tumour cells. This signalling pathway can be effectively blocked using targeted EGFR tyrosine kinase inhibitors (EGFR TKIs). However, virtually all patients ultimately acquire resistance to EGFR TKIs leading to disease progression: the median progression free survival of patients receiving first line EGFR inhibitors erlotinib or gefitinib is 10.2 months. Resistance is driven by either the acquisition of additional mutations (e.g. the EGFR T790M mutation) or – in up to half of the patients – bypass mechanisms,,. While third generation EGFR inhibitors targeting the T790M mutation have shown good results, novel treatments overcoming resistance in T790M negative patients are urgently needed. Additionally, strategies to prevent or delay resistance in NSCLC EGFRm patients receiving first line EGFR inhibitors are a major unmet need.
The BGBC004 trial is a phase I/II multi-centre open-label study of BGB324 in combination with erlotinib in patients with EGFR mutation driven Stage IIIb or Stage IV NSCLC. The trial is designed to evaluate reversal of resistance to EGFR targeted therapy in later line patients who are negative for the T790M mutation as well as prevention of resistance in patients receiving the EGFR inhibitor erlotinib first line. Patients are currently being enrolled at centres across in the US. For more information please access trial NCT02424617 at www.clinicaltrials.gov.
BerGenBio ASA is a clinical-stage biopharmaceutical company focused on developing a pipeline of first-in-class Axl kinase inhibitors as a potential cornerstone of combination cancer therapy. The Company is a world leader in understanding the essential role of Axl kinase in mediating cancer spread, immune evasion and drug resistance in multiple aggressive haematological and solid cancers.
BerGenBio's lead product, BGB324 (bemcentinib), is a unique and highly selective, potent and orally bio-available small molecule Axl inhibitor, currently in four Company sponsored phase II clinical trials in major cancer indications, with read-outs anticipated in the second half of 2018. It is the only selective oral Axl inhibitor in clinical development.
BGB324 with KEYTRUDA in triple negative breast cancer (TNBC).
The clinical trials combining BGB324 with KEYTRUDA in adenocarcinoma of the lung and TNBC are conducted in collaboration with Merck & Co. Inc. (MSD), through a subsidiary.
In addition, a number of investigator-sponsored trials are underway, including a trial to investigate BGB324 with either MEKINIST® (trametinib) plus TAFINLAR® (dabrafenib) or KEYTRUDA in advanced melanoma, as well as a trial combining BGB324 with docetaxel in advanced NSCLC.
BerGenBio is simultaneously developing a companion diagnostic test to identify patient subpopulations most likely to benefit from treatment with BGB324. This will facilitate more efficient registration trials and support a precision medicine based commercialisation strategy.
The Company is also developing a diversified pre-clinical pipeline of drug candidates, including BGB149, an anti-AXL monoclonal antibody.
KEYTRUDA® is a registered trademark of Merck Sharp & Dohme Corp., a subsidiary of Merck & Co., Inc., Kenilworth, NJ, USA, TARCEVA® is a registered trademark of OSI Pharmaceuticals, LLC., marketed by Roche-Genentech. TAFLINAR® is a registered trademark of Novartis International AG and MEKINIST® is a registered trademark of GSK plc.
 Ramalingam S, et al. Osimertinib vs SoC EGFR-TKI as First-Line Treatment in Patients with EGFRm Advanced NSCLC (FLAURA). Presented at the European Society for Medical Oncology (ESMO) 2017 Congress, 8-12 September 2017, Madrid, Spain.
BerGenBio is a clinical-stage biopharmaceutical company focused on developing a pipeline of first-in-class selective AXL kinase inhibitors to treat multiple aggressive cancers. The Company is a world leader in understanding the central role of AXL kinase in promoting cancer spread, immune evasion and drug resistance – the cause of approximately 90 percent of cancer deaths. Inhibition of AXL kinase activity represents a novel approach to addressing a key mechanism in the evolution of cancer cell malignancy and aggressiveness, offering an opportunity to create important new therapeutic options for cancer patients.


Melbourne Magistrates' Court has imposed a civil pecuniary penalty of $100,000 on Hair Science International Pty Ltd (Hair Science) for making false claims that its treatment could regrow hair - when clients are actually given a hairpiece.
The Director of Consumer Affairs Victoria alleged that Hair Science represented that it could replicate hair from a client, grow it on synthetic liquid skin (similar to that used on burns victims) and then attach this hair to the client's scalp.
Hair Science represented that the synthetic skin would 'marry-up' with the client's scalp and the `cloned' hair would then grow like normal hair.
The business claimed its 'cosmetic follicle replacement' or 'non-surgical hair transplanting' was made possible by the emerging science of 'non-surgical dermatological epidermis applications'.
However, consumers claimed that - after paying $6000 to $8000 - Hair Science provided them with a poor-quality hairpiece which was glued onto their head. The hairpiece needed to be re-attached every 5-6 weeks for an additional fee each time.
The company made false representations that it could 're-grow hair' and used AFL footballers Brent Guerra and David Hale as examples. However, it admitted that it had not re-grown the players' hair, but had fitted them with hairpieces.
The court declared that Hair Science International Pty Ltd, Steve Sindiris (its former director) and Joseph Zwaigoft ('a senior hair-loss specialist') had each engaged in misleading and deceptive conduct, or conduct likely to mislead or deceive, in contravention of Victorian Fair Trading Act 1999.
It also found that Hair Science had engaged in similar contraventions of the Australian Consumer Law (ACL) (Victoria).
had regrown the hair of the two AFL footballers.
The court imposed a civil pecuniary penalty of $100,000 on Hair Science for breaching the ACL. It imposed injunctions restraining the company (including its employees, officers or agents), Mr Sindiris and Mr Zwigoft from making false representations.
Hair Science was also ordered to publish a public notice in the Herald Sun newspaper, on four separate weekdays, and on the company's website, detailing the court's decision.
The court also ordered that Hair Science provide all clients with an 'Important notice to consumers' advising them of the actual treatment, when they entered into an agreement.
Mr Sindiris was ordered to pay court costs of $9604, while Mr Zwaigoft and Hair Science must pay costs of $2358 and $3179, respectively.


text:
Sex-altering hormone to curb unwanted populations of brook t
Public High Lakes Forum › Hi-Lakers › Sex-altering hormone to curb unwanted populations of brook t
This topic has 5 replies, 5 voices, and was last updated 3 weeks, 1 day ago by Rex Johnson.
Roger Werth
Here is a story the club might be interested in……………
Idaho's fishery researchers are experimenting with a sex-altering hormone to curb unwanted populations of brook trout and have stocked four streams with monosex trout that can produce only male offspring.
By VIRGINIA HUTCHINSThe Times-News
BELLEVUE, Idaho
The project uses the female hormone estradiol to affect sex in a segment of the population, then selectively breeds them to get an entire population to produce one sex. It's a decades-old technology that commercial aquaculture hatcheries use to raise identical-looking food fish and boost growth.
But the Idaho Department of Fish and Game's effort has an unprecedented goal: determining whether that technique can reduce or eradicate unwanted fish populations in the wild.
And it's getting a lot of attention in the fish-science world.
Fish and Game published a December article in the North American Journal of Aquaculture, then presented its work to a Western meeting of the American Fisheries Society this spring and to a national AFS meeting in Kansas City in August. There, the AFS announced Idaho's "YY Male Brook Trout Research Program" won the 2016 Sport Fish Restoration Outstanding Project award for research and surveys.
But this week is the first time Dan Schill, fisheries research supervisor at Fish and Game, spoke on the record to a reporter about the work.
"There have been a number of biologists very excited at these meetings where we've been making these presentations, including the one in Kansas City," Schill said.
He and his colleagues aren't aware of anyone else in the world who has built a similar broodstock for this purpose, though researchers in New Zealand have launched a project.
"I don't think that anyone's this far along," Schill said. "It's just exciting to be part of this first effort to see if this technique — which up until now has been entirely theoretical, and based on mathematical modeling — trying to put it on the ground."
Brook trout — a species native to eastern North America but deliberately introduced in the West in the 1800s — frequently overpopulate here and "stunt" in lakes and streams, which means fish are too small for most anglers to be interested. And where brook trout range overlaps with the West's native cutthroat trout, biologists usually see marked reductions in cutthroat numbers.
The usual methods of eradicating unwanted fish are time-consuming and labor-intensive, Fish and Game said, and all have limitations: Rotenone kills all the other fish in the stream, too, and the agency typically limits its use of toxicants to smaller bodies of water. Netting and trapping are rarely long-term solutions because a few fish escape and spawn. Electrofishing has the same problem.
"And you're right back where you started from," Schill said.
That's where the YY-males come in.
Fish and Game researchers and hatchery staff collaborated to breed male brook trout with two Y chromosomes rather than the usual XY.
"Stocking YY-male hatchery fish into a body of water with an undesired fish population could change the sex ratio to all males within a few generations, and the unwanted fish population would eventually fail to reproduce and therefore die off," the agency wrote. "Once accomplished, Fish and Game would stop stocking those fish and fisheries managers would then restock that body of water with a more desirable fish species."
The agency chose brook trout for its first YY project because they are short-lived and quickly reach sexual maturity, which shortens the time needed to produce the hatchery broodstock and test the technique.
Fish and Game began the breeding for its YY-male brook trout in 2008 at the Ashton Fish Hatchery — which it mothballed in 2013 — then moved the project to the Hayspur Fish Hatchery southeast of Bellevue, where the broodstock are kept in silos.
The agency's explanation of its YY breeding:
"The YY technique begins in a hatchery, where young brook trout are exposed to low doses of a common female hormone, estradiol, which has no effect on female fish, but causes male fish to produce eggs when they mature. The egg-producing males are crossed with standard males, which produce about 25 percent YY-male offspring. Those offspring are used to produce another generation that will theoretically produce exclusively male offspring when bred with any other brook trout.
"Brook trout produced in the program for stocking in the wild are not exposed to any hormones and appear like all other brook trout, but they carry two male chromosomes instead of one."
The idea is to continue stocking hatchery-produced YY-males into the wild population until all the fish in the water are male; then stocking ends and the population dies off.
If the brook trout effort proves successful in small, isolated waters, Fish and Game said, its YY-male method could eradicate or limit other fish species that reduce game fish populations and harm habitat in certain waters — perhaps even large bodies of water infested by carp.
The technique could be cost-effective, Fish and Game officials hope.
It took only four years to develop the YY brook trout broodstock, said Gary Byrne, the fish production manager overseeing the program's hatchery side.
Stocking trials of YY brook trout began in 2014 in four tiny streams in the Lost River drainages west of Mackay.
Schill said he wanted to see initial survival and spawning results of that pilot study before talking to the media, and genetic analyses take time.
"A marked YY male was observed actively spawning in October with a wild female, and testing done on wild fry in study streams in 2015 conclusively showed that some YY males successfully spawned," Fish and Game wrote. "Of equal note, all progeny of stocked YY fish found were XY males, exactly as predicted and as investigators hoped."
Schill, who led the research team, was encouraged by the low cost of broodstock development.
"The proof will be in the pudding over the next few years when our research staff obtain results confirming whether stocked YY fish successfully spawn in the wild and are ultimately effective in reducing the percentage of wild female brook trout in test waters," Schill said.
Over the next several years, Fish and Game will start stocking YY brook trout in more waters — including high mountain lakes east of McCall, and more small streams in south-central Idaho close to Mackay. Then researchers will evaluate whether the sex ratio starts shifting markedly to male, and, ultimately, whether brook trout numbers drop.
"We really won't expect to see a big effect on sex ratio until two or three years go by," Schill said.
Schill's presentation last year at the national AFS meeting in Portland, Oregon, got immediate attention.
Within a few weeks, he said, "I was contacted by a 40-plus-year veteran of Yellowstone fish research regarding whether or not the YY-male approach would assist ongoing efforts to eradicate illegally introduced lake trout from Yellowstone Lake. The current Yellowstone lake trout control effort, relying chiefly on manual removal and related methods, is designed to restore Yellowstone cutthroat trout to its former prominence as the keystone species in the lake."
In the Midwest in February, Schill said, he advised two federal labs and various state partners on the potential of the YY-male approach for fighting the invasive Asian carp species taking over the Mississippi River system and threatening the Great Lakes' fisheries.
The Idaho experiment could have another, perhaps surprising, outcome.
"In an ironic twist, brook trout in the Eastern U.S. are doing poorly in much of their range and in warmer south Appalachian streams are often threatened with historical introduction of rainbow trout, a Western species," Schill said. "I have been in a dialogue with experts in that area on the applicability of YY-males for elimination of rainbow trout in key streams where they pose a threat to the native brook trout. Experts working to restore brook trout there have heretofore had to rely largely on especially labor-intensive, multiple-pass electrofishing removals for rainbow trout eradication, and the YY-male technique may hold promise."
Fish and Game leaders know their hormone and breeding experimentation has the potential to touch off a storm of attention.
The agency prepared a Q-and-A sheet before Schill assented to an interview. Among the questions: What happens if someone eats a fish that's been exposed to estradiol?
The agency's answer: "Fish exposed to the hormone in the program remain in enclosed hatchery production silos and are never stocked so it's virtually impossible for that to occur. However, the doses given to tiny fry are very low and the 100 percent clearance rate from tissues is a matter of days, well over a year before fish become a size of interest to anglers. For these reasons, it is inconceivable that an angler or other animals would be exposed to estradiol, which is a common and frequently used human prescription drug that's also used in aquaculture."
September 21, 2016 at 9:41 pm #101145
Oh, that's exciting. Thanks for posting this Roger!
Rex Johnson
As a follow-up to Roger's post, I have been working to get a project going here in Washington to use YY Chromosome modified EB's to control over populated stunted EB's in mountain lakes. The first order of business was to select target lakes and the most important characteristic of any experimental lake is access (besides having stunted fish). My basic principle in selecting any lake for an experiment is mainly access; you need to have easy access in order to get equipment, people, and whatever else you may need to the lake. Lonesome Lake was a good choice since you can drive within a hundred feet of the water. Little Gee Lake (Skagit County) was suggested by the lake sponsor, Kathy Cropp. It too has a long documented history of over populated reproducing and stunted EB's plus you can drive right to the water. To resolve the problems with the over population and stunted Eastern brook in Lonesome and Little Gee lakes, we were hoping to use genetically modified eastern brook trout (YY chromosome). This technique is based on very promising recent studies using YY chromosome male Brook trout that have been done in Idaho, where Fish and Game researchers and hatchery staff collaborated on a project using a 50 year-old technology to develop a monosex fish population whose offspring can only produce males. The modified males have two YY chromosomes (YY) rather than the usual XY arrangement. Stocking YY-male hatchery fish into a body of water with an undesired fish population could change the sex ratio to all males within a few generations, and the unwanted fish population would eventually fail to reproduce and therefore die off. Once accomplished, Fish and Game managers could then restock that body of water with a more desirable fish species. This plan has many advantages especially low cost. I was able to get Tara Livingood-Schott (WDFW Fish Biologist) interested in this project.
After extended conversations with the main Idaho Fish Biologist who spearheaded their YY chromosome project (Dan Schill), I asked WDFW management about starting a program here. To my surprise, I was told a program had already been started by WDFW Biologist Bill Baker in Spokane, so I contacted him. Bill was very helpful. He had already gotten some YY chromosome eggs and discussed the possibility of us getting some to use in our two lakes. Bill indicated that he was having to jump through a lot of red tape hoops, but that he was hopeful that YY chromosome modified fish could become the magic bullet to resolve our stunted lakes. Tara and I received word from WDFW upper management that they would consider a proposal so Tara and I wrote one for Lonesome Lake and submitted it in 2018. About the same time, I discussed the possibility of submitting a proposal to WDFW on Little Gee Lake with Biologist Justin Spinelli. We were trying to decide whether to join in with Tara on her proposal or write a new one for Little Gee when to our disappointment, the proposal for Lonesome Lake was turned down by WDFW. We suspect that a major factor was that a significant number of the YY chromosome eggs that Bill Baker's group received, had died within the first month. We were told by WDFW management that maybe next year, they would reconsider. This put both Lonesome Lake and Little Gee on hold for 2018.
However, Tara really did not want to give up getting an experiment going that would test at least one idea of resolving over populated and stunted EBs. It was at this point, Tara was informed on the availability of a quantity of Tiger trout, which brought up the idea of trying them on top of stunted Eastern brook. Since we already had a good candidate in Tara's district, we discussed the logistics of using Lonesome Lake. Recognizing that it would be best to use Tiger trout as large as possible so that they would be capable of eating smaller brook trout as soon as the Tiger trout were stocked, this meant that at the earliest, it would be late October or early November before the Tiger trout were of adequate size. However, we could not guarantee access to Lonesome Lake at that time of year, so Tara decided to put this off until early next year. In 2019, we did stock both Lonesome Lake and Forest Lake (Forest Lake has an illegal population of Gold fish) with Tiger Trout. (See the post of this experiment and the need to do surveys.)
I am still working on trying to get an experiment going using YY Chromosome EB, but the current Pandemic is a major problem now. Stay tuned for further developments.
Steve Watson
I fished Lonesome and Forest Lake on Saturday. I was hoping for some larger tiger trout but it was fun catching them, a first for me. Sorry I didn't get better pictures but I'm sure I'll be up there again soon. I caught 3 or 4 at Lonesome all around 6 inches and I caught several stunted brooks as well. I saw the goldfish at Forest and caught 3 or 4 tiger trout as well, no brooks caught in the short time I was here.
trim.F7C06ADA-804B-4D68-AE48-4210EC2B1E05.mov
January 8, 2023 at 3:38 pm #126405
Keith Peter
Any more word on this study
Keith and all other interested parties,
I am currently working with WDFW Fish Biologist Justin Spinelli on a proposal to WDFW to do a test lake using YY Chromosome modified fish. If all goes well, we will be starting this project this year. WDFW Biologist Bill Baker has been running an experiment out of Spokane now for a couple of years using YY modified fish and it has been educational with some positive signs. Doing these experiment is very time consuming and requires lots of hard work and patience. I have been giving updates at the Trail Blazer and Hi-Laker meetings, so that is a good place to ask more questions.


Oh my…. I have not been back to page one in a while….. There are quite a few pics there already, but if you think there is anything else that would add clarity then please add them.
Xnaron, Do you have someplace where you have posted pics of your setup (photo bucket for example) or only in this thread? I would like to study it more closely.
Generic Default wrote: I attached all of the printable parts in this post, except for the magnetic cup joints. I will work on getting several sizes of those for various press fits tomorrow.
If you print the attached files, make sure to do it relatively slowly at small layer heights. I think I'm using #8 (4mm) hex head cap screws to glue my chrome balls to. I'll try to get more installation instructions and pictures tomorrow.
Would you happen to have an actual CAD file for the rail mount piece? I wanted to nudge the holes in a little to align with the single hot-end platform xnaron did. I'm using FreeCad, some something it can handle, like a STEP file, would probably work best.
Actually I think the holes are at the exact same distance apart as what xnaron uses. It's 50mm between ball centers on both the platform and the cheapskate rail mount.
Weird - I'll have to check - I was holding one of your parts up to xnaron's effector, and the holes didn't quite seem to line up. It was close - within a mm or two.
I like your cheapskate mount better since it's got holes for the end stop on both sides - geneb's guide has you installing the brackets on the right side (looking from the center out to each pillar), but xnaron's brackets only have a stop screw hole on the left. Not a big deal to have to drill out another hole, but nice to get the right part out of the printer.
bdjohns1 wrote: Weird - I'll have to check - I was holding one of your parts up to xnaron's effector, and the holes didn't quite seem to line up. It was close - within a mm or two.
How are the measurements for the arms and effector calculated, what are the base points, and/or triangulation points.
joecnc2006 wrote: How are the measurements for the arms and effector calculated, what are the base points, and/or triangulation points.
This is inside the configuration.h file for Repetier firmware. Best to view it in a text editor with fixed fonts.
/     \                             \    Carriage is at printer center!
I load the Arms in Repetier Host and when I go to slice it I get this error. Does not matter what computer I use in the house I get the same error.
Now I got the same error on the Arm End but when I resized the file in Repetier Host to 1.05 it worked then.
It printed perfect, I took off one of the exiting mounts and the stubs on the back fit right into place of the two mounting holes. Great Job.
joecnc2006 wrote: Almost Ready to install.
Looks good Joe! Be careful with those magnets. They crack very easily. Don't let them snap together.
Tore apart a few 6206 bearings to get the sweet sweet 3/8" balls within.
Used some JB Weld and added some weight to keep the balls pressed tight.
I printed the arm holders... but had something funky happen. Maybe I had my wall thickness to big or something (never had the problem before), but it looks like it decided to only print the infill and not the outer layers!
There was only about 1/2 meter of filament left on the spool when I checked them this morning, so I'm wondering if the tightness of the spool curve was creating so much drag it was starving the extruder, or there was something wrong with my settings.
The key to making sure the balls stick to the screws is to heat cure them. I stick them close to a desk lamp and let them heat up. They probably get to 70 or 80C.
As for the printing issue...I use kiss for slicing. I believe I was at 0.20 layer height and I set the number of loops to something high like 7. With these I try to avoid the infill. They are tricky to print right for sure.
I tried dropping the ball and screw and pulling and twisting and so far I haven't been able to make it budge. It's possible I've been lucky though. I scraped the balls where they're attached and used a dremel to round out the tops of the screws a bit hoping to give a better grip for the weld. I might try and see if I can physically weld a few together too.
Also, what I don't understand on my failed prints, is that the first 3/8" of the 'tube' part printed find. I haven't had a chance to check out your STL, but is the groove for the magnet slightly tighter, giving an ever so slightly thicker wall in that area?
Looks like filament starvation, is that PLA? You should probably use ABS for the joints.
I used the magnets with the Bearings, dipped the head in JB-Weld then attached the screw to the bearings, the magnet held them into place, Looks like you are using stainless cap screws so that would not work.
Then when they set a little bit I placed them in oven on 170° for 30 minutes it cured the JB-Weld then let sit for a few hours more (not the full 24 hrs), I can not pull the screws off the bearings at all.
I also got a 3/8" round nose bit and turned it by hand in the ends of the ABS Rod Ends and this took out any little differences in print and made the Bearings fully seat in the groves.
joecnc2006 wrote: I used the magnets with the Bearings, dipped the head in JB-Weld then attached the screw to the bearings, the magnet held them into place, Looks like you are using stainless cap screws so that would not work.
I did the same principle that you did Joe but I found a 3/8" stone for a dremel and ran that down the Rod Ends, worked great but you have to be careful not to grind the bottom.
Nylocke wrote: Looks like filament starvation, is that PLA? You should probably use ABS for the joints.
Yeah, they're PLA. I'd love to use ABS, but I can't seem to get it to stick at all. I've tried everything except the hairspray as I haven't been able to find it yet.
Any particular reason you would use ABS instead? I find the joint feels smooth as silk with the PLA, and I can't imagine heat being an issue.
I'm going to try that. I was only able to get 6 done yesterday and none today so far, so it might speed things up a bit.
I recommend using PLA. It makes a better joint for this application. Use a mix of water and white elmers glue 10:1 and apply to a heated bed of about 50C with a foam brush in a thin layer. PLA will stick to this and will pop off easily when cooled.
xnaron wrote: I recommend using PLA. It makes a better joint for this application. Use a mix of water and white elmers glue 10:1 and apply to a heated bed of about 50C with a foam brush in a thin layer. PLA will stick to this and will pop off easily when cooled.
I have no problem with PLA sticking. It's ABS that's got me running in circles. I even tried ABS juice and it won't even attempt to stick to the bed. Purple elmer's glue... no go. Gotta try the hairspray next. But anyway... it's getting off topic.
I've got about a week before my magnets arrive, so I'll toss on a new spool of PLA and try those holders again. This time I'll try it without infill as you mentioned xnaron. And I'll do a test of one joint first to make sure before I run the entire batch!
Which slicer are you using and what is your nozzle size?
xnaron wrote: Which slicer are you using and what is your nozzle size?
It was filament starvation. Sitting there, the PLA would ooze from the nozzle, but as soon as I put pressure on it at the EZstruder... it would just jam up.
I've almost got my setup ready to go. I didn't have any 3/8 x 3/8" cylinder magnets, so I ended up using 3 x 3/8" short magnets and stacked them together. It ends up being .300" thick altogether, but the attraction feels pretty strong.
My rods are going to be aluminum, but I'm a bit worried about the weight that will be throwing around. I haven't found anyone local that carries 3/8 carbon tube and the ones online are a bit out of my price range. I've seen people use the archery arrow shafts, but I haven't found any that are 3/8. They all look to be around 5/16".
try 3/8 wood dowels, or print the ones in the files.


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