A wave of demonstrations in Palestine and across 40 European cities this past weekend protested the thriving international trade with Israeli agribusinesses and the deliberate destruction of Palestinian agriculture it contributes towards.
The actions were part of a new focus on building international solidarity with Palestinian farmers and saw the launching of new campaigns by Palestinian agricultural organizations, European solidarity networks, nongovernmental organizations and trade unions against Israeli agricultural export firms.
In Gaza, hundreds of farmers and activists took part in march on Saturday towards the buffer zone near the border with Israel, where regular attacks and incursions by the Israeli military force farmers to abandon their land or take huge risks to tend to their crops. An Israeli surveillance vehicle hovered overhead as activists planted olive trees and rallied carrying banners calling for a boycott of Israeli agricultural produce.
Dozens of fishermen held a rally at Gaza port earlier in the week. Fishermen continue to come under regular attack from the Israeli military despite the terms of the November 2012 ceasefire supposedly stating that fishermen could now fish up to six miles off Gaza's coast.
There were also actions and events in the West Bank, where olive trees were planted on the land of Madama village to replace those cut down by illegal settlers. A conference on boycotting Israeli agricultural firms in Salfit was attended by hundreds of farmers and activists on Monday.
Israeli policies in the West Bank aim to force farmers from their lands and appropriate Palestinian aquifers to make use way for water-intensive illegal settlements. The situation is particularly urgent in the Jordan Valley, where most of Israel's settlement farming is located, where demolitions and evictions are commonplace and settlers control over 13 times more irrigated land than Palestinians.
As the size and scale of these recent mobilizations remind us, Palestinian farmers are engaged in a struggle for their rights to their land and resources. When farming has to take place under threat from attacks from fanatical settlers, or in Israel's Gaza "buffer zone," it becomes much more than an income — it becomes a form of resistance.
Israeli agricultural companies, meanwhile, reap the benefits of Israel's attacks on Palestinian farming. Israeli agricultural export companies like Mehadrin and Hadaklaim participate in the colonization of the West Bank, establishing plantations and packing houses in illegal Israeli settlements on stolen Palestinian land.
As many as 60 percent of illegal settlements in the Jordan Valley are heavily dependent on exporting agricultural produce, and this ability to export produce to European supermarkets is one of the main reasons Israel is discussing plans to increase the amount of land available to agricultural settlements in the valley by 130 percent.
Israeli agricultural companies also benefit from the siege on Gaza, participating in the dumping of Israeli goods in Gaza and the undermining of local production.
As part of this weekend's international mobilization, all the major Palestinian agricultural organizations and several other civil society groups issued an appeal for solidarity with Palestinian farmers and for action against Israeli agriculture companies.
"We, Palestinian organizations and unions representing farmers struggling for their right to their land and to food sovereignty, urge international civil society organizations to build effective campaigns and work towards ending agricultural trade with Israel that finances and rewards the destruction of Palestinian farming," the call begins.
The signatories to the call for action also launched a briefing document entitled Farming Injustice (pictured) that details how Israeli agriculture firms contribute to and benefit from the dispossession of Palestinian farmers. The briefing sets out the arguments for supermarkets to end all trade with Israeli suppliers known to operate in settlements and explains that European and other governments are violating their obligations under international law by allowing trade with settlements to continue.
Around two-thirds of Israel's $2 billion annual agricultural exports are to European markets and campaigning against the trade in agricultural goods has always been a key part of the movement for boycotts, divestment and sanctions (BDS) against Israel in Europe.
In 2011, Israel's largest export company Agrexco was forced into liquidation following a financial crisis severely exacerbated by the campaign against it that took place in 13 European countries. Supermarkets across Europe now claim to not stock, or put special labels on produce from illegal settlements.
Many of the demonstrations that took place in Europe this weekend targeted Mehadrin, the Israeli company that has taken Agrexco's place as Israel's leading produce export company.
A large demonstration was held outside Mehadrin's Swiss distribution center this afternoon and the company was protested as it participated in a major fresh produce show in Berlin.
We'll be posting more updates as they come in over at the Farming Injustice page at BDSmovement.net.
A British businessman pledged to resign from the board and sell his shares in EDOM, after concerns about its Jordan Valley operations were raised by Corporate Watch, a UK research outfit that has been producing excellent information about the settlement activities of Israeli agriculture companies.
The European Union is currently discussing introducing special labeling for settlement products. This would be a politically symbolic move and a welcome step towards a ban on settlement trade that the Palestinian human rights group Al Haq argues states are legally obliged to implement.
However, new research from Corporate Watch shows that such a move would be almost impossible to reliably implement given the wholesale deception by Israeli companies about the origin of their produce. Campaigns must continue to make the argument for tougher steps.
Campaigners in Europe have already helped push a major Israeli exporter out of business and forced the issue onto the agenda of governments and supermarkets.
Inspired by the steadfast resistance of Palestinian farmers, campaigners in Europe are now determined to end more of the trade in Israeli agricultural fresh produce that facilitates the destruction of Palestinian farming.


Takaharu Tezuka and his wife Yui make up Tezuka Architects. Together they have built schools centered on trees, play areas created from interwoven wooden beams and hospitals that offer patients the healing gifts of joyous light and space. It is this same breathtaking light and space, sketched out with clean lines of wood, metal and glass, that are the hallmarks of each of Tezuka's projects. Since establishing the firm in 1994, Tezuka and his team have created buildings that transform mere walls and windows into living — and livable — art.


text:
19397 Lagarini este un asteroid din centura principală, descoperit pe 3 martie 1998, de ODAS.

Legături externe

 19397 Lagarini în JPL Small-Body Database
 19397 Lagarini în baza de date a Minor Planet Center
 Diagrama orbitei asteroidului 19397 Lagarini (JPL)

Centura de asteroizi
Obiecte astronomice descoperite în 1998

redpajama_set_name: RedPajamaWikipedia


text:
ADMIN_PASSWORD=${ADMIN_PASSWORD:-secrete}
SERVICE_PASSWORD=${SERVICE_PASSWORD:-$ADMIN_PASSWORD}
export SERVICE_TOKEN=$SERVICE_TOKEN
export SERVICE_ENDPOINT=$SERVICE_ENDPOINT
SERVICE_TENANT_NAME=${SERVICE_TENANT_NAME:-service}

function get_id () {
    echo `"$@" | awk '/ id / { print $4 }'`
}

# Tenants
# -------

ADMIN_TENANT=$(get_id keystone tenant-create --name=admin)
SERVICE_TENANT=$(get_id keystone tenant-create --name=$SERVICE_TENANT_NAME)
DEMO_TENANT=$(get_id keystone tenant-create --name=demo)
INVIS_TENANT=$(get_id keystone tenant-create --name=invisible_to_admin)

# Users
# -----

ADMIN_USER=$(get_id keystone user-create --name=admin \
                                         --pass="$ADMIN_PASSWORD" \
                                         --email=admin@example.com)
DEMO_USER=$(get_id keystone user-create --name=demo \
                                        --pass="$ADMIN_PASSWORD" \
                                        --email=demo@example.com)

# Roles
# -----

ADMIN_ROLE=$(get_id keystone role-create --name=admin)
KEYSTONEADMIN_ROLE=$(get_id keystone role-create --name=KeystoneAdmin)
KEYSTONESERVICE_ROLE=$(get_id keystone role-create --name=KeystoneServiceAdmin)
# ANOTHER_ROLE demonstrates that an arbitrary role may be created and used
# TODO(sleepsonthefloor): show how this can be used for rbac in the future!
ANOTHER_ROLE=$(get_id keystone role-create --name=anotherrole)

# Add Roles to Users in Tenants
keystone user-role-add --user_id $ADMIN_USER --role_id $ADMIN_ROLE --tenant_id $ADMIN_TENANT
keystone user-role-add --user_id $ADMIN_USER --role_id $ADMIN_ROLE --tenant_id $DEMO_TENANT
keystone user-role-add --user_id $DEMO_USER --role_id $ANOTHER_ROLE --tenant_id $DEMO_TENANT

# TODO(termie): these two might be dubious
keystone user-role-add --user_id $ADMIN_USER --role_id $KEYSTONEADMIN_ROLE --tenant_id $ADMIN_TENANT
keystone user-role-add --user_id $ADMIN_USER --role_id $KEYSTONESERVICE_ROLE --tenant_id $ADMIN_TENANT

# The Member role is used by Horizon and Swift so we need to keep it:
MEMBER_ROLE=$(get_id keystone role-create --name=Member)
keystone user-role-add --user_id $DEMO_USER --role_id $MEMBER_ROLE --tenant_id $DEMO_TENANT
keystone user-role-add --user_id $DEMO_USER --role_id $MEMBER_ROLE --tenant_id $INVIS_TENANT

# Services
# --------

# Keystone
if [[ "$KEYSTONE_CATALOG_BACKEND" = 'sql' ]]; then
	KEYSTONE_SERVICE=$(get_id keystone service-create \
		--name=keystone \
		--type=identity \
		--description="Keystone Identity Service")
	keystone endpoint-create \
	    --region RegionOne \
		--service_id $KEYSTONE_SERVICE \
		--publicurl "http://$SERVICE_HOST:\$(public_port)s/v2.0" \
		--adminurl "http://$SERVICE_HOST:\$(admin_port)s/v2.0" \
		--internalurl "http://$SERVICE_HOST:\$(public_port)s/v2.0"
fi

# Swift
if [[ "$ENABLED_SERVICES" =~ "swift" ]]; then
    SWIFT_USER=$(get_id keystone user-create \
        --name=swift \
        --pass="$SERVICE_PASSWORD" \
        --tenant_id $SERVICE_TENANT \
        --email=swift@example.com)
    keystone user-role-add \
        --tenant_id $SERVICE_TENANT \
        --user_id $SWIFT_USER \
        --role_id $ADMIN_ROLE
    if [[ "$KEYSTONE_CATALOG_BACKEND" = 'sql' ]]; then
        SWIFT_SERVICE=$(get_id keystone service-create \
            --name=swift \
            --type="object-store" \
            --description="Swift Service")
        keystone endpoint-create \
            --region RegionOne \
            --service_id $SWIFT_SERVICE \
            --publicurl "http://$SERVICE_HOST:8080/v1/AUTH_\$(tenant_id)s" \
            --adminurl "http://$SERVICE_HOST:8080" \
            --internalurl "http://$SERVICE_HOST:8080/v1/AUTH_\$(tenant_id)s"
    fi
fi

redpajama_set_name: RedPajamaGithub


text:
Q: Как работать с txt файлом как с массивом? Есть текстовый файл, в нём хранятся данные в таком формате:
#31~Страна~
        @135~Город1~
            $8~Тип1
            $1~Тип2
        @136~Город2~
            $8~Тип1
            $15~Тип3

Формат файла менять нельзя.
Как реализовать работу с данным тхт файлом, как с массивом?
Тоесть в форме выбирается страна. Идёт проверка в файле по этой стране и если есть данные (город), то создаётся селект с выбором города. При выборе города, проверка в файле и вывод Типа.
Естественно не решение нужно, а при помощи чего реализовать? а то я в полном ступоре, не пойму с чего начать. Спасибо

A: Думаю, мысль понятна:

let db = `#31~Страна~
@135~Город1~
$8~Тип1
$1~Тип2
@136~Город2~
$8~Тип1
$15~Тип3`;
let countries = {};
let cities = {};
let types = {};

db.split("\n").reduce((p, s) => {
  let [, num, name] = s.match(/(\d+)~([^~]+)/);

  switch (s.trim().charAt(0)) {
    case '#':
      p.co = num;
      countries[num] = name;
      break;
    case '@':
      p.ci = num;
      if (!(p.co in cities)) cities[p.co] = [];
      cities[p.co].push([p.ci, name]);
      break;
    case '$':
      p.ty = num;
      if (!(p.ci in types)) types[p.ci] = [];
      types[p.ci].push([p.ty, name]);
      break;
  }

  return p;
}, {co: null, ci: null, ty: null});

V = new Vue({
  el: '#root',
  data: {
    country: -1,
    city: -1,
    type: -1
  }
});
[v-cloak] {
  display: none;
}
<script src="https://cdnjs.cloudflare.com/ajax/libs/vue/2.5.16/vue.min.js"></script>
<div id='root' v-cloak>
  <select v-model="country">
    <option disabled value="-1">Pick your option here</option>
    <option v-for="(name, key) in countries" :key="key" :value="key">{{ name }}</option>
  </select>
  <select v-model="city" v-if="country in cities">
    <option disabled value="-1">Pick your option here</option>
    <option v-for="(city, key) in cities[country]" :key="city[0]" :value="city[0]">{{ city[1] }}</option>
  </select>
  <select v-model="type" v-if="city in types">
    <option disabled value="-1">Pick your option here</option>
    <option v-for="(type, key) in types[city]" :key="type[0]" :value="type[0]">{{ type[1] }}</option>
  </select>
</div>

A: Я набросал код, который помещает в массив страны - отдельно код, отдельно название - и всю мешанину городов. Я могу и города обработать, если надо - но просто думаю, что в коротком коде легче видна суть. Если надо и города - мне нетрудно
    var txt ='#31~Страна~        @135~Город1~            $8~Тип1            $1~Тип2        @136~Город2~            $8~Тип1            $15~Тип3#31~Страна~        @135~Город1~            $8~Тип1            $1~Тип2        @136~Город2~            $8~Тип1            $15~Тип3';

var re1 = /#\d+~[А-Яа-я]+~[^#]+/g;
var re2 = /#(\d+)~([А-Яа-я]+)~([^#]+)/;

var massiv = []; //Массив, в который преобразуем текст

if(re1.test(txt))
{
    var m1= txt.match(re1); //массив подстрок, соотв. странам
    for(var i = 0; i < m1.length; i++)
    {
        var oneCountry = m1[i];
        var m2 = oneCountry.match(re2); //разбор одной страны
        massiv[i] = { 'countryCode': m2[1] , 'counrtyName': m2[2], 'cities' : m2[3] };
    }

console.log(massiv);

}

redpajama_set_name: RedPajamaStackExchange


text:
Watch The Serpent Queen Season 1 Episode 2 Free
Stream The Serpent Queen Season 1 Episode 2 (To War Rather Than To Bed)
Young Catherine begins to learn how to outwit the royal household in order to secure her future.
Medici Bitch Sep. 11, 2022
To War Rather Than To Bed Sep. 18, 2022
The Price Sep. 25, 2022
A New Era Oct. 02, 2022
The First Regency Oct. 09, 2022
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An Attack on the King Oct. 23, 2022
A Queen Is Made Oct. 30, 2022

redpajama_set_name: RedPajamaCommonCrawl


Level 1 – 3 days, Basic Treatment protocols and device functions.
Level 2 – 3 days, Advanced Treatment protocols. Prerequisite – Level 1.
Level 3 – 3 days, Advanced Treatment protocols and Conditional techniques. Prerequisite – Level 2.
SCENAR Meridian Stretch Technique – on-line only, the technique combines the Traditional Chinese Medicine and the SCENAR technology. Each meridian is treated with SCENAR and stretched at the same time providing instant pain relief, increased mobility and clearance of blockages.


text:
Intra-Host Diversity of SARS-Cov-2 Should Not Be Neglected: Case of the State of Victoria, Australia
Development of a Cell-Based Luciferase Complementation Assay for Identification of SARS-CoV-2 3CLpro Inhibitors
Analysis and Molecular Determinants of HIV RNase H Cleavage Specificity at the PPT/U3 Junction
MicroRNAs for Virus Pathogenicity and Host Responses, Identified in SARS-CoV-2 Genomes, May Play Roles in Viral-Host Co-Evolution in Putative Zoonotic Host Species
10.3390/v13010132
PubMed/Medline
Kumari, P.
Rothan, H. A.
Natekar, J. P.
Stone, S.
Pathak, H.
Strate, P. G.
Arora, K.
Brinton, M. A.
Kumar, M.
Neuroinvasion and Encephalitis Following Intranasal Inoculation of SARS-CoV-2 in K18-hACE2 Mice
Pratima Kumari
†,
Hussin A. Rothan
† ,
Janhavi P. Natekar
Heather Pathak
Philip G. Strate
Komal Arora
Margo A. Brinton
Department of Biology, College of Arts and Sciences, Georgia State University, Atlanta, GA 30303, USA
Academic Editor: Andrew Davidson
Viruses 2021, 13(1), 132; https://doi.org/10.3390/v13010132
Received: 14 December 2020 / Revised: 8 January 2021 / Accepted: 12 January 2021 / Published: 19 January 2021
(This article belongs to the Special Issue Pathogenesis of Human and Animal Coronaviruses)
Severe acute respiratory syndrome coronavirus-2 (SARS-CoV-2) infection can cause neurological disease in humans, but little is known about the pathogenesis of SARS-CoV-2 infection in the central nervous system (CNS). Herein, using K18-hACE2 mice, we demonstrate that SARS-CoV-2 neuroinvasion and encephalitis is associated with mortality in these mice. Intranasal infection of K18-hACE2 mice with 105 plaque-forming units of SARS-CoV-2 resulted in 100% mortality by day 6 after infection. The highest virus titers in the lungs were observed on day 3 and declined on days 5 and 6 after infection. By contrast, very high levels of infectious virus were uniformly detected in the brains of all the animals on days 5 and 6. Onset of severe disease in infected mice correlated with peak viral levels in the brain. SARS-CoV-2-infected mice exhibited encephalitis hallmarks characterized by production of cytokines and chemokines, leukocyte infiltration, hemorrhage and neuronal cell death. SARS-CoV-2 was also found to productively infect cells within the nasal turbinate, eye and olfactory bulb, suggesting SARS-CoV-2 entry into the brain by this route after intranasal infection. Our data indicate that direct infection of CNS cells together with the induced inflammatory response in the brain resulted in the severe disease observed in SARS-CoV-2-infected K18-hACE2 mice. View Full-Text
Keywords: SARS-CoV-2; COVID-19; K18-hACE2 mice; neuroinvasion; neuroinflammation; encephalitis SARS-CoV-2; COVID-19; K18-hACE2 mice; neuroinvasion; neuroinflammation; encephalitis
Kumari, P.; Rothan, H.A.; Natekar, J.P.; Stone, S.; Pathak, H.; Strate, P.G.; Arora, K.; Brinton, M.A.; Kumar, M. Neuroinvasion and Encephalitis Following Intranasal Inoculation of SARS-CoV-2 in K18-hACE2 Mice. Viruses 2021, 13, 132. https://doi.org/10.3390/v13010132
Kumari P, Rothan HA, Natekar JP, Stone S, Pathak H, Strate PG, Arora K, Brinton MA, Kumar M. Neuroinvasion and Encephalitis Following Intranasal Inoculation of SARS-CoV-2 in K18-hACE2 Mice. Viruses. 2021; 13(1):132. https://doi.org/10.3390/v13010132
Kumari, Pratima, Hussin A. Rothan, Janhavi P. Natekar, Shannon Stone, Heather Pathak, Philip G. Strate, Komal Arora, Margo A. Brinton, and Mukesh Kumar. 2021. "Neuroinvasion and Encephalitis Following Intranasal Inoculation of SARS-CoV-2 in K18-hACE2 Mice" Viruses 13, no. 1: 132. https://doi.org/10.3390/v13010132
Viruses, EISSN 1999-4915, Published by MDPI Disclaimer
The statements, opinions and data contained in the journal Viruses are solely those of the individual authors and contributors and not of the publisher and the editor(s). MDPI stays neutral with regard to jurisdictional claims in published maps and institutional affiliations.
https://www.mdpi.com/965612


text:
Beyond the standard model searches with b-jets and hadronically decaying τ-leptons with the ATLAS detector
Parker, Adam Jackson (2019) Beyond the standard model searches with b-jets and hadronically decaying τ-leptons with the ATLAS detector. PhD thesis, UNSPECIFIED.
PDF (2019parkerphd)
2019parkerphd.pdf - Published Version
Official URL: https://doi.org/10.17635/lancaster/thesis/548
This thesis describes the search for resonant and non-resonant Higgs boson pair production in the b ¯bτ +τ − decay channel. The main focus of this document is on the final state where both τ -leptons decay hadronically. The search is performed using 36.1 fb−1 of data collected by the ATLAS detector in proton-proton collisions at a centre-of-mass energy of 13 TeV during 2015 and 2016. The cross-section for non-resonant di-Higgs production is found to be 16.4 times the Standard Model prediction in the fully hadronic channel at a 95% confidence level. Combining the result with the semi-leptonic channel produces a measured signal strength of µ = 12.7 at a 95% confidence level when compared to the Standard Model prediction. Resonant Higgs boson pair production excludes bulk Randall-Sundrum gravitons GKK in the mass range 325 GeV < mGKK < 885 GeV for k/MP L = 1. For the simplified hMSSM minimal supersymmetric model for tan β = 2, resonances are excluded in the mass range 305 GeV < mH < 402 GeV. Finally, a re-interpretation of the Higgs boson pair production analysis is presented as a search for third-generation scalar leptoquarks. Pair-produced third-generation scalar leptoquarks decaying to bτ bτ are excluded at 95% confidence level for mLQ < 1030 GeV.


ARE YOU LOOKING FOR A PART FOR your Audi, Alfa, BMW, Ford, Daewoo, Holden, Honda, Hyundai, Isuzu, Kia, Mazda, Mercedes, Mini, Mitsubishi, Nissan, Peugeot, Subaru, Toyota Cars, Toyota Commercials, Toyota 4x4, VW, then Parts Connection is who you need to contact. Parts Connection is a Specialist Auto Parts Network made up of 12 dismantlers providing parts for most makes and models. As each member is a specialist, they can SUPPLY THE PART FOR THE BEST PRICE! Contact us FIRST!
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Formed in the year 1992 in Auckland by seven specialist dismantlers, we have become a leader in the field of automotive dismantling since that time. The specialist dismantlers felt that by operating as a group they could ensure high standards of professionalism, reliability, service and parts availability.


text:
United Kingdom | About Us | Jobs | Contact Us | Help
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You are here: Home Page > Social Sciences > Sociology > Marriage & the Family > Contexts for Young Child Flourishing
Evolution, Family, and Society
Edited by Darcia Narvaez, Julia M. Braungart-Rieker, Laura E. Miller-Graff, Lee T. Gettler, and Paul D. Hastings
Addresses an important and often neglected aspect of child development-how to optimize the conditions and contexts to fit the evolutionary characteristics of child growth
Scholars from multiple disciplines examine the types of parenting, families, communities and experiences that foster flourishing in young children
Focuses on aspects of young child flourishing-a combination of emotional, psychological, and social wellbeing, appropriate physiological regulation, and a prosocial orientation towards others
Human beings have the most immature newborn and longest maturational schedule of any animal. Only 25% of the adult brain size is developed at full-term birth, and most of the brain's size and volume is co-constructed by caregivers in the first years of life. As a result, early life experience has long-term effects on physiological and psychological wellbeing.
Contexts for Young Child Flourishing uses an evolutionary systems framing to address the conditions and contexts for child development and thriving. Contributors focus on flourishing-optimizing individual (physiological, psychological, emotional) and communal (social, community) functioning. Converging events make this a key time to reconsider the needs of children and their optimal development in light of increasing understanding of human evolution, the early dynamism of development, and how these influence developmental trajectories. There is a great deal of misunderstanding both among researchers and the general public about what human beings need for optimal development. As a result, human nature unnecessarily can be misshaped by policies, practices, and beliefs that don't take into account evolved needs. Empirical studies today are better able to document and map the long-term effects of early deficits or early assets, mostly in animal models but also through longitudinal studies. An interdisciplinary set of scholars considers child flourishing in regards to issues of development, childhood experience, and wellbeing. Scholars from neuroscience, anthropology, and clinical and developmental studies examine the buffering effects of optimal caregiving practices and shed light on the need for new databases, new policies, and altered childcare practices.
SECTION 1: FOUNDATIONS FOR FLOURISHING IN YOUNG CHILDREN
1. The Flourishing of Young Children: Evolutionary Baselines
Darcia Narvaez, Lee Gettler, Julia Braungart-Rieker, Laura Miller Graff and Paul Hastings
2. Life for Learning: How a Young Child Seeks Joy With Companions In a Meaningful World
Colwyn Trevarthen and Jon-Roar Bjørkvold
3. Societal Contexts for Family Relations: Development, Violence and Stress
Riane Eisler
4. The Role of Emotion Socialization in Promoting Child Flourishing
Holly E. Brophy-Herb, Danielle Dalimonte-Merckling, Neda Senehi, and Alicia Kwon
5. Healthy Children: The Role of Emotion Regulation
Julia Braungart-Rieker and Elizabeth Planalp
SECTION 2: PARENTING AND FAMILY CULTURAL CONTEXTS
6. The Parental Brain - Regulation of Mother and Father Behavior that Influences Infant Development
James Swain
7. Parent-Child Symbolic Relationship In-Utero: Parents' Prenatal Expectations Regarding Their Child's Temperament and Their Own Parenting
Lior Abramson, David Mankuta, and Ariel Knafo-Noam
8. Wellbeing and Sociomoral Development in Preschoolers: The Relation of Maternal Parenting Attitudes Consistent with the Evolved Developmental Niche
Tracy Gleason, Darcia Narvaez, Ying Cheng, Lijuan Wang, and Jeff Brooks
9. Biopsychosocial Models of Prosociality: Compassionate Love, Vagal Regulation, and Children's Altruism
Jonas Miller and Paul Hastings
10. The Emergence of "Positive Parenting" as a New Paradigm: Theory, Process, and Evidence
George Holden, Rose Ashraf, Erin Brannan, and Paige Baker
11. Transitions in Siblinghood: Integrating Developmental, Cultural and Evolutionary Perspectives
Hillary N. Fouts and Lauren R. Bader
SECTION 3: CONTEXTS OF CONFLICT
12. The Benefits of Marital Conflict: Constructiveness and Resolution as Predictors of Positive Child Outcomes
Katie (Bergman) Miller, Mark Cummings, Kelly (Kuznicki) Warmuth
13. Multi-contextual influences on resilience in young children exposed to intimate partner violence
Laura Miller Graff
SECTION 4: COMMUNITY CONTEXTS
14. Flourishing in Transactional Care Systems: Caring with Infant and Toddler Caregivers about Wellbeing
Mary B. McMullen and Kathleen McCormick
15. Enrichment and Isolation: Institutional Care and Challenges to Child Development in Jamaica
16. The Elementary Classroom: A Context for Supporting Children's Flourishing
Marilyn Watson
SECTION 5: PRACTICAL AND POLICY IMPLICATIONS
17. Culture, Community and Context in Child Development: Implications for Family Programs and Policy
Joshua Sparrow
18. Young Child Flourishing as an Aim for Society
Darcia Narvaez, Paul Hastings, Julia Braungart-Rieker, Lee Gettler, and Laura Miller-Graff
Edited by Darcia Narvaez, Professor of Psychology, niversity of Notre Dame, Edited by Julia M. Braungart-Rieker, Professor of Psychology, University of Notre Dame, Edited by Laura E. Miller-Graff, Assistant Professor of Psychology and Peace Studies, University of Notre Dame, Edited by Lee T. Gettler, Assistant Professor, Department of Anthropology, University of Notre Dame, and Edited by Paul D. Hastings, Chair and Professor of Psychology, University of California, Davis
Darcia Narvaez, PhD, is Professor of Psychology and Director of the Moral Psychology Lab at the University of Notre Dame. She studies moral development through the lifespan with a particular focus on early life effects on the neurobiology underpinning moral functioning.
Julia M. Braungart-Rieker, PhD, is Professor of Psychology and Director of the William J. Shaw Center for Children and Families at the University of Notre Dame. Her work focuses on social and emotional development during infancy and early childhood.
Laura E. Miller-Graff, PhD, is an Assistant Professor of Psychology and Peace Studies at the University of Notre Dame. Her research examines the developmental effects of exposure to violence in childhood.
Lee T. Gettler, PhD, is Assistant Professor in the Department of Anthropology and Director of the Hormones, Health, and Human Behavior Laboratory at the University of Notre Dame. His research focuses on the way in which men's hormonal physiology responds to major life transitions, such as marriage and fatherhood.
Paul D. Hastings, PhD, is Chair and Professor of Psychology at the University of California, Davis, where he is also a member of the Center for Mind and Brain, and the Center for Poverty Research. His research focuses on examining dynamic influences between neurobiological regulatory systems and socialization experiences, and their multilevel contributions to adaptive and maladaptive socioemotional development in children and adolescents.
Lior Abramson is a doctoral Candidate of developmental psychology and a student at the program of clinical neuropsychology at the Hebrew University of Jerusalem.
Rose Ashraf is a doctoral student in clinical psychology at Southern Methodist University.
Lauren R. Bader is a doctoral student in Child and Family Studies at the University of Tennessee.
Paige Baker is an undergraduate at Vanderbilt University majoring in psychology and education.
Kathleen N. Bergman, PhD, is a Postdoctoral Research Associate at the University of Notre Dame.
Jon-Roar Bjørkvold, PhD, is Professor Emeritus of Musicology at the University of Oslo, and a Member of the Norwegian Academy of Science and Letters.
Erin Brannan is a graduate of the University of Arkansas at Fayetteville, where she majored in psychology.
Julia M. Braungart-Rieker, PhD, a developmental psychologist, is the Mary Hesburgh Flaherty and James F. Flaherty Collegiate Chair at the University of Notre Dame. She is also the Director of the William J. Shaw Center for Children and Families.
Jeff Brooks, M.A., is a healthcare analyst at Press Ganey Associates.
Holly E. Brophy-Herb, PhD, is a professor of child development in the Department of Human Development and Family Studies at Michigan State University.
Ying ("Alison") Cheng, PhD., is associate professor of psychology at the University of Notre Dame.
E. Mark Cummings, PhD, is professor and Notre Dame Endowed Chair in Psychology at the University of Notre Dame.
Danielle Dalimonte-Merckling, M.S.A., is a doctoral candidate in child development in the Department of Human Development and Family Studies at Michigan State University.
Riane Eisler, J.D., PhD (h), is president of the Center for Partnership Studies.
Hillary N. Fouts, PhD, is a cultural anthropologist and Associate Professor of Child and Family Studies at the University of Tennessee.
Lee Gettler, PhD, is assistant professor of anthropology at the University of Notre Dame.
Tracy R. Gleason, PhD, is professor of psychology at Wellesley College and Psychological Director of the Wellesley College Child Study Center.
Laura Miller-Graff, PhD, is an assistant professor of Psychology and Peace Studies at the University of Notre Dame.
Paul D. Hastings, PhD, is professor and Chair of the Department of Psychology at the University of California Davis.
George Holden, PhD, is professor and Chair of the Psychology Department at Southern Methodist University.
Ariel Knafo-Noam, PhD, is professor of developmental psychology at the Hebrew University of Jerusalem.
Alicia Y. Kwon, M.A., is a doctoral candidate in child development in the Department of Human Development and Family Studies at Michigan State University.
David Mankuta, M.D, M.H.A., is Director of the Labor and Delivery Department at Hadassah Hebrew University Medical Center.
Kathleen (Kate) McCormick is a Ph.D. Candidate in Early Childhood Education at Indiana University and a former early childhood educator.
Mary Benson McMullen, PhD, is Professor of Early Childhood Education at Indiana University and former caregiver and director in birth-to-age 5 program.
Jonas G. Miller, M.A., is a doctoral candidate at the University of California Davis.
Darcia Narvaez, PhD, is professor of psychology at the University of Notre Dame.
Robin G. Nelson, PhD, is an assistant professor in the Department of Anthropology at Skidmore College.
Elizabeth M. Planalp, PhD, is a post-doctoral trainee at the Waisman Center at the University of Wisconsin-Madison.
Neda Senehi, M.A., is a doctoral candidate in child development in the Department of Human Development and Family Studies at Michigan State University.
Joshua Sparrow, M.D., DFAACAP, is Director at the Brazelton Touchpoints Center in the Division of Developmental Medicine at Boston Children's Hospital, where he holds appointments in Psychiatry and Developmental Medicine, and also is Associate Professor part time in psychiatry at Harvard Medical School.
James Swain, PhD, is assistant professor in the Department of Psychiatry, Psychology and Center for Human Growth and Development, University of Michigan and an associate at the Child Study Center, Yale University, USA.
Colwyn Trevarthen, PhD, is Professor Emeritus of Child Psychology and Psychobiology at The University of Edinburgh, Fellow of the Royal Society of Edinburgh, a Member of the Norwegian Academy of Sciences and Letters, and a Vice-President of the British Association for Early Childhood Education.
Lijuan Wang, PhD, is associate professor of psychology at the University of Notre Dame.
Marilyn Watson, PhD, is a former Director of Programs at the Developmental Studies Center and the former Program Director of the Child Development Project.
Kelly A. Warmuth, PhD, is an assistant professor in the Department of Psychology at Providence College.
Slipping expectations for child outcomes
Certainly we should be happy that kids from 'at risk' environments graduate from high school and do not end up in prison for life. But is this enough to aim for? We may not score their life outcome as minus 5 (on a -10 to +10 scale), but Chiron's life outcome does not warrant much more than a zero. Why? Because his intelligence, unique gifts, and potential were not fostered (which would go on the plus side of zero).
Elizabeth Brake
Reproductive States
Rickie Solinger, Mie Nakachi
The Supportive State
Maxine Eichner
Random Families
Rosanna Hertz, Margaret K. Nelson
Jessi Streib
Postpartum Mental Health Disorders: A Casebook
Group for the Advancement of Psychiatry Committee on Gender and Mental Health, Gail Erlick Robinson, Carol C. Nadelson, Gisele Apter
Sexual Health, Fertility, and Relationships in Cancer Care
Maggie Watson, David Kissane
Families' Values
R. Urbatsch
The Oxford Handbook of Reproductive Ethics
Leslie Francis
Saving Sex
Amy DeRogatis
Social Sciences > Sociology > Marriage & the Family
Medicine & Health > Reproductive Medicine


text:
Q: What is the meaning of "gastric percolation" in the context? I have checked all the definition entries for the words percolation and gastric, yet I can't totally understand what "gastric percolation" means in the following sentence:

Of more urgent concern is the gastric percolation that I am experiencing [Reference].

Does it mean fullness of the stomach? That's the only meaningful interpretation that I can come up according to the dictionary entries.

A: In this context, gastric percolation means "the filtering through the stomach" and he is using it to mean he has diarrhoea.
The writing is describing it very delicately, but the link shows key words "continence", "sputtering" and "toilet paper".  "Could I get sick from a tiny residue of bad water?"

A: "Gastric percolation" is simply a colorful way to describe his abdominal discomfort due to persistent diarrhea.  We can imagine he feels an internal sensation akin to the sound of percolating coffee -- a constant -- and increasingly urgent -- bubbling and rumbling in his belly.
Anatomically speaking, this is actually happening in the author's colon, not his stomach, so it should be colonic or intestinal percolation. Gastric specifically refers to the stomach, not the entire digestive system ... but I suppose we can forgive the author's lack of medical accuracy.


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text:
'Ending Fossil Fuel Subsidies in Europe' Newsletter No.11 - September-October 2017
A monthly update on policy development, campaigning and communications
A monthly update on policy development, campaigning and communications by CAN Europe - Newsletter No.11 - September-October 2017 (for browser version, click here)
CAN EUROPE'S LATEST TAKE ON THE ISSUE
NEW REPORT OUT:
Phase-out 2020: Monitoring Europe's fossil fuel subsidies
September 28th, CAN Europe together with the Overseas Development Institute and Green Budget Germany, published a report on subsidies to fossil fuels in Europe. It focused on EU-level subsidies for fossil fuels, through its policies and mechanisms, as well as national fossil fuel subsidies of the following countries: Czech Republic, France, Germany, Greece, Hungary, Italy, Netherlands, Poland, Spain, Sweden and the United Kingdom. Together these 11 European countries represent 83% of energy related GHG emissions.
The report entitled Phase-Out 2020: Monitoring Europe's fossil fuel subsidies, aims to raise awareness among European, national decision-makers and the general audience about the huge amounts of subsidies still going to fossil fuel activities in Europe, despite the multiple pledges to comply with the Paris Agreement.
It found that every year between 2014-2016, the EU provided an annual average of €4bn in fossil fuel subsidies through its budget, development and investment banks and funds. The growing support for gas, and the continued provision of support for coal-fired power, are particularly concerning.
The findings come despite European governments and the EU pledging to phase out fossil fuel subsidies by 2020 and committing to phase out emissions from fossil fuels by the second half of this century as part of the Paris Agreement.
Other findings include:
After transport, industry and business received the most government support, benefitting from just less than €15bn per year
Subsidies continue to be provided for fossil fuel exploration, with the UK and France providing €253 million per year in public finance between 2014-16 on finding new resources
The report makes a series of recommendations urging European governments and EU institutions to:
Lead the G7 and G20 by meeting their commitment to phase-out fossil fuel subsidies by 2020
Increase transparency through a publicly-disclosed and consistent annual reporting scheme
Ensure mechanisms supporting energy transition do not support fossil fuel production and consumption;
Target any remaining subsidies to supporting workers and communities to move away from fossil fuels
CLICK HERE TO VIEW THE REPORT and all it's different related documents: Executive Summary, Main Report, EU Brief, Country studies and all the related infographics. You can also view the press release here.
The report was launched at a press conference in Brussels on Thursday 28th and was live streamed (you can view the video by clicking here. You can also view a short explanation of the report by one of the main authors from ODI in the followingvideo
MEDIA and CSO coverage here
Help us spread the word as much as possible on social media and elsewhere!
#PhaseOut2020, #FossilFuelSubsidies, #FossilFuels, #StopFundingFossils
CLICK HERE TO VIEW ALL THE MEDIA COVERAGE OF PHASE-OUT 2020 REPORT
- Climate Home: EU bank to decide huge public loan to Europe's biggest fossil fuel project
- Politico: Clean tax breaks "The market is skewed in favour of diesel with an average diesel car getting €2,600 in indirect fuel subsidies."
- The Energy Collective: The European Union is Losing Its Way on Climate Change "Subsidies for coal continue to abound, as highlighted in a new study, which shows that in Europe, loans of €47.7b (AU$71.1b) have gone to fossil fuel projects since 2013, and many of these projects will continue."
- Politico: Green groups press Commission to cut gas from priority projects list
- Euractiv: EU still divided over curbing power subsidies with CO2 cap
- Euractiv: Poland wins bigger coal transition funds in reformed ETS
NATIONAL DEVELOPMENTS
- The Independent (UK): Government spends twice as much abroad on fossil fuels as renewable energy "As much as 99 per cent of UK Export Finance spending on energy goes on most polluting fuels, figures show".
- Daily mail (UK): Poland - Factors to Watch Aug 23 "The energy ministry [of Poland] expects that state subsidies for the coal mining sector will amount to a combined 10.24 billion zlotys ($2.82 billion) from 2016 until 2020, Dziennik Gazeta Prawna daily reported."
- Bellona.org (Norway): Bellona tries to pull the plug on vast Norwegian oil and gas exploration subsidies. "Bellona made a complaint about the Norwegian state to ESA (EFTA Surveillance Authority), in order to put an end to favorable sponsorship of oil and gas companies."
- The Guardian: Norway's push for Arctic oil and gas threatens Paris climate goals – study
- Euractiv: Green groups say Greece granting illegal permits to polluting plants
- China Dialogue: China's role in Turkey's energy future: "Temptation to invest in Turkey's coal sector will test President Xi's commitment to climate leadership"
- E&E: 2 global lenders say trillions needed for adaptation: "The heads of the World Bank and the International Monetary Fund issued clarion calls Friday to address climate change and help countries rebuild from natural disasters. (...) Also on Friday, IMF Managing Director Christine Lagarde pressed world leaders to stop subsidizing fossil fuels. (...) IMF researchers estimated fossil fuel subsidies in 2015 reached $5.3 trillion, roughly 7 percent of the world economy at the time. Lagarde said governments in power are in good position to cut fossil fuel subsidies, since commodity prices are so low. "We have the opportunity to reduce and eliminate these subsidies at a more reasonable cost," she told a full auditorium. "Some of you have done it, it can be done, it must be done." "
- Development and Cooperation: No time to rest on laurels "If policy is set to continue in the direction towards decarbonisation, renewable energy and reduced subsidies for fossil fuels, we will achieve an important sub-goal."
- Reuters: Shunning fossil fuels, 40 Catholic groups seek climate action
- Canada and the United Kingdom announce a global alliance on coal phase-out
CSO CAMPAIGNS, ADVOCACY & PUBLICATIONS
BLOGS, LETTERS, POSITION PAPERS & BRIEFs
- CAN Europe:
CAN Europe position on the EU Budget Post-2020
CAN reaction to EU's climate finance position as decided by the Economic and Finance Council (ECOFIN)
- CEE Bankwatch: Major European loan to controversial Azerbaijani gas pipeline risks fuelling corruption, human rights abuse and climate change
- Friends of the Earth Europe and Food & Water Europe on behalf of more than a hundred organisations: Letter to Mr. Dominique Ristori regarding the preparation of the 3rd Union list of energy projects of common interest
- Sandbag:
Something nasty in the woodshed: How biomass subsidies are secretly funding coal
Is the ETS becoming a tool for coal investment?
- Birdlife: For an EU budget serving nature and people
- E3G:
Greening Financial Flows: what progress has been made in the development banks?
Briefing: Greening Financial Flows: what progress has been made in the development banks?
When will all the development banks disclose their carbon footprints?
Ingrid Holmes on Why We need an 'EU Observatory' for Sustainable Finance
Why EU finances matter for the low-carbon transition
- Counter Balance:
Southern Gas Corridor Update Russian Involvement Increasingly Evident
Event: Global Gas Lock in Linking North South Resistance Brussels 21-23 September
Azerbaijans Laundromat Scandal Raises Concerns Over the EUS Growing Business Ties With the Authoritarian Regime
Human Rights Concerns Over EIB Loan to TANAP an Open Letter
25 NGOs Call for an Independent and Efficient Complaints Mechanism at the EIB
Major European Loan to Controversial Azerbaijani Gas Pipeline Risks Fuelling Corruption Human Rights Abuse and Climate Change
- Transport & Environment: Transport & Environment EU budget briefing: How the EU can better align spending with its climate and energy targets
- Bankwatch (briefing): Why the EIB should not finance TANAP?
- Mercator Research Institute on Global Commons and Climate Change: Ending tax breaks after the diesel scandal
- Climate marchs in Germany against coal:
http://www.klima-kohle-demo.de/english/
http://climate-protest-bonn.org/en/
- 350.org: The end of coal is near! Thousands just took bold action to #endcoal in the Rhineland, Germany
- Réseau Action Climat France: Stop aux subventions aux énergies fossiles
- The Big Shift Campaign: "The World Bank manages and invests huge amounts of public money in development projects. We need them to get all their money out of dirty fossil fuels and into affordable renewable energy to reach and benefit even the most vulnerable and remote communities. This would have a huge financial impact and set a gold standard that other public and private banks would then aspire to."
- E3G: Sustainable infrastructure in development banks
- Oil Change International:
A Nobel Appeal to Norway
The Lofoten Declaration: A new bar for climate leadership
- Carbon Market Watch: Pricing carbon to achieve the Paris goals
- IISD:
From Paris to Lofoten and Back: A Call for a Managed Decline of the Fossil-Fuel Industry
Mind the Gap: Fossil Fuel Subsidies Could Fill the SDG Financing Gap
Click on the calendar image to view events and add them to your calendar:
LINKS TO CAN EUROPE'S WORK ON SHIFTING FINANCIAL FLOWS
For an overview of the main national fossil fuel subsidies in Europe, click on the following map below (which you can also find on our website):
The website's table of contents with direct links to the different sections:
Avenues for change
NGO publications
BUILDING A COMMON NARRATIVE
The voice against fossil fuel subsidies has internationally grown stronger the last couple of years - both among civil society and world leaders - but it is apparent that European decision makers don't feel enough pressure to start putting their money where their mouth is. A united voice from NGOs and other actors will help to steer the debate in the right direction – towards enhanced and fair climate action. CAN Europe is working with members and non-members across Europe to support the development of a strong, common narrative on phasing out public financial support for fossil fuels. What is your story? Make it heard! Contact: Nicolas Derobert
Have any news you want to share or comments on the content ? Contact: Martin O'Brien
For continual news updates and useful resources, visit our website.


text:
Notebook Interview
Nathaniel Dorsky: Shimmering Golden Music
A conversation with the American experimental filmmaker on the occasion of Barcelona retrospective and a new book.
Maximilien Luc Proctor
April (2012)
Over the course of ten programs across five days in Barcelona this January, curators Francisco Algarín Navarro and Carlos Saldaña presented a career-spanning series devoted to American experimental filmmakers Nathaniel Dorsky and Jerome Hiler. The series was curated to coincide with the release of a brand-new book, Illuminated Hours. Nathaniel Dorsky and Jerome Hiler, focused on the pair's early years; meeting and struggling to understand the elusive medium of film. As is the case for all Lumière publications, it is a beautiful object, complete with full-color stills and archival documents. The bulk of the book consists of extensive interviews with Dorsky and Hiler conducted by Navarro and Saldaña, and features texts by curator Mark McElhatten among many others, and incorporates excerpts from prior interviews, including one I conducted with Hiler for Ultra Dogme last year. Illuminated Hours is currently only available in Spanish, with an English language version slated for later this year.
As Dorsky and Hiler exclusively screen their work directly from 16mm prints (rentable from Light Cone in Europe or Canyon Cinema in the U.S.), there were only two individual exceptions to this rule. Library (1970) was screened as a digital file, from a 2021 restoration by the Harvard Film Archive. A collaboration between the two filmmakers, Library is based on the old style "industrial," highlighting the various community benefits of its namesake. Dorsky's 17 Reasons Why (1985-87) was screened once from a print and was available to watch on a four-monitor (one for each of the 8mm frames shown simultaneously) constellation on a loop, from a 2020 digital scan done by MoMA. It is a delightfully playful whirlwind (I'm thinking here of a blink-and-you'll-miss-it composition where Dorsky films his pants around his shoes while sitting on the toilet) which condenses the visual beauty from across his filmography into a metabolism more often associated with the work of someone like Joseph Bernard.
Apart from his fascination with photographic beauty formed through dense reflections and thick, high contrast plays of striped shadows silhouetting over brightly sunlit people and objects, Dorsky often holds a shot until time allows itself to unfold so that a surprise may surface. They are simple surprises, but ones that often bring about great pleasure; take three women seen through a window, all wearing deep red clothing. When one changes position, she reveals a bottle of ketchup in their midst, perfectly suited for the occasion. When we are presented with a collection of minute glimmering lights, we wonder for a moment where they might originate, until Dorsky turns the aperture to reveal they are light reflected in the droplets on the hood of a car. In Love's Refrain (2000-2001), a clear plastic to-go box is opened by the wind, leans backwards, and its own contents (a lonely plastic fork and styrofoam cup) slide into the center, forming a new arrangement for this found statue. It is an image in conversation with the plastic bag floating in the wind of Variations (1998). There are beautiful rippling lights seen in macro, manifested as out of focus orbs, ruptures of the universe, shimmering golden music.
Through Dorsky's polyvalent montage he hopes that certain shots will be taken as reverberations of ones previously seen within a film—the edit is arranged intuitively yet strategically. The larger body of work supports and re-amplifies so many reverberations across the decades; Jerome Hiler appears numerous times throughout, as do endless bushes, shrubs, saplings and veteran trees. Text silhouetted and thrown onto unusual surfaces, human behavior when unaware (one presumes) they are being observed. Perhaps most fascinating are the infrequent yet recurring interludes of three to five shots of rapid movement through dense cross hatcheting created by shooting through an orange construction fence or by simply filming similarly shaped shadows intersecting with stairs—thrilling in their velocity within the context of such steady and measured work. Dorsky is interested in geometry and its permutations through movement, be they such rapid 'stackings' or the languid vibrations of nature reflected on the pulsating surface of a pond.
So too do certain ideas reverberate across the pair's collective body of work, though in less obvious ways. Where Hiler works with multiple exposures to overlap, echo, and strike lightning, Dorsky achieves his density of image in a single shot, with concrete, recognizable photography—we understand the literal images but not always the how or what of their surroundings. When we see a "pseudo-Hellenic bust" (to borrow from P. Adams Sitney's apt description) lying on its side in Dorsky's Threnody (2003-2004), it comes back to mind when we see the face of a similar figure in Hiler's Words of Mercury (2010-2011), surrounded by a barren rural area in the background. In both cases the old world has fallen. Dorsky presents us with texts being written or copied down (by Hiler), but Hiler presents text itself (one screen-filling superimposition close-up of German text makes legible the name "Maria Rilke"). Hiler also creates text through the scratching of the film surface, such as in the notes he scrawls onto Marginalia.
Immediately after stepping out of a Dorsky screening, some images remain in the mind's eye with power, others vanish almost instantaneously—not for lack of visual virtuosity, but for their settling somewhere deeper in the mind than what is accessible on the surface. A few hours later certain images would return, but what truly astounded me was a shot which came to mind with complete clarity the following afternoon when I happened upon its analogous manifestation in the physical world: Dorsky's camera careening into the flowers, leaning in closer to catch a pollinating bee, startlingly yellow in a sea of lavender, obstructing pedals pressed forward by the lens as it passed…
Over a FaceTime conversation, Dorsky powered through a light COVID-induced brain fog to speak of his work with his usual wisdom and clarity. Since Dorsky and Hiler both only screened their work privately for many years, our conversation began there. Special thanks to Paul Attard for contributing questions.
Love's Refrain (2000-01)
NOTEBOOK: Did screening for an audience instead of just for your friends change your approach to filmmaking at all?
NATHANIEL DORSKY: There was something I found very attractive about showing camera rolls to friends. There was something spontaneous in them: odd juxtapositions, or progressions revealing one's method of arriving at a chosen shot. By that I mean you might approach a subject with a camera a certain way, and then again and again, maybe four or five times, so that you would actually see the progression of relationship between the camera and the subject. There was something very interesting about showing footage to friends. Also it was less burdensome on the ego—it was still an open process. The film was still alive, it wasn't a corpse yet: signed, sealed, and delivered with a title and a print. Before it became a corpse it was more fun, there was less pressure. The only trouble with that way of working is that it was usually good on the first viewing, but the second or third time you saw the same thing, it didn't function that way. I remember asking Stan Brakhage about this, I said, "Stan I'm very confused, I love the spontaneity and the casualness of just showing camera rolls." He said, "You have to remember that life is life and art is art. They're two separate things."
Even to this day I get greater joy out of having friends over to look at footage than a final film. It's alive, and if someone says something you can adjust it. The trick was to figure out, "how can I get a finished film to have the qualities of a private film?" That took some time to figure out. I think now I'm closer to that, especially in the films you haven't seen from the last two years.
Around the time of the Arboretum Cycle (2017) I began to drift away from polyvalence and more toward in-camera sequences. Like in Hours for Jerome (1966-82) there are many sequences which are in-camera improvisations, especially forest textures. I began to go back to how I shot when I was in my twenties. I began to find a way through camera improvisation mixed with polyvalence to come upon a style which gave me the freedom and joy of the private pleasures of screening for friends and the public pleasure of a refined, finished work.
NOTEBOOK: It's interesting that you mention the style you're working with now trying to emulate how you were shooting in your twenties, because I also got to see 17 Reasons Why in Barcelona, as an installation on a loop.
DORSKY: They also showed it on film at 16 frames per second—I requested it but I didn't think they'd do it—which is what the installation is transferred at.
NOTEBOOK: And why was that at 16fps when the rest of your filmography is projected at 18fps?
DORSKY: Because the 16fps is slower, and therefore gives you a greater opportunity to enjoy the articulation of the four screens. You see more because it's slower. It becomes more articulate at the slower speed.
Also, at the time I did 17 Reasons Why, making an unslit regular 8mm film was a known trope within experimental film. Stan had a long sequence that way in 23rd Psalm Branch (1967). If you went to open screenings—at that time there was a lot of going over to other people's houses and screening footage—you would see people doing things with Double 8. I absorbed a lot and one thing I noticed that was annoying to me was that people would always have one side upside down, so I always shot the second half with the camera upside down so they would all be right-side up in the final film. That was one thing I thought I improved on. Almost every roll had at least two layers of superimposition.
In short, that film has a particular set of problems to solve, Double Regular 8. It's almost like a musical form that has certain requirements, not applicable to other forms. One thing to consider is you're driving the images up against one another. If you pan the camera, the image slides across the screen, but it's not the whole screen, it's just part of the screen is sliding, so you get relationships between various squares. And there are things to discover, for instance if you shot every other frame black, then you could suspend an image just in one corner, because the other image is black. Then you could maybe put two black between each frame and then the image would flicker from the top to the bottom. It was fun. When I was a kid I saw a program on television where they gave toy instruments to three or four very accomplished jazz musicians and let them play something with a toy piano and similar instruments. It's a little bit like that, giving a toy to an adult.
NOTEBOOK: Hours for Jerome was almost like a compact lexicon of the whole of visual grammar and language. You said you were trying everything out, was there any conscious effort at that time to try and create this compact amalgam of all those elements? And now with the current works trying to go back to that type of style while filming, is it a tighter approach to having more play with the camera while filming or are you also trying to be as loose as you were back then?
DORSKY: With Hours for Jerome I was not trying to build a glossary of techniques at all. I was trying techniques which I thought were appropriate for expressing the subject matter. I was very interested in the collision of elements. I tried more and more to see how much I could bang things together that were different from one another but at the same time became some kind of visual whole. There's a sequence on 14th Street in New York in the rain: a frame held open, a little time-lapse intercut with a black and white television, back and forth. I always saw those kinds of discount stores with their fluorescent lighting as close to television in a way. Somehow the intermittent quality of fluorescent light bulbs reminded me of television and advertising products. I was trying to find little sections like that where I could take elements and bang them together and make some kind of whole out of them. But it wasn't supposed to be a catalog of techniques. It was just the way I collected what I was interested in.
I was going back to in-camera improvisation, building rhythms in the camera. There's a couple of films right before the Arboretum Cycle where that began to take over.
NOTEBOOK: I noticed that in Intimations (2015). Are you using a variable ND filter in Arboretum, or just sliding the aperture?
DORSKY: It's just the aperture. But what's interesting about it is you see how the film responds to color at various exposures, so the exact same image, so to speak, can become six different images, just by what you're exposing for. Of course, being smart and having made films all my life, I would choose things that would go through variations because of the aperture changes. If you just shot a flatly frontlit scene and made it darker and lighter, it wouldn't go through the variations, it would just be darker and lighter. But if you set up a different kind of tension of light in the image, then it actually changes the composition.
NOTEBOOK: Because you mentioned the neon signs and TV screen, I'm curious about your fascination with these, why you've continued to film those so much over the years.
DORSKY: Because I'm lazy. [Laughs.] They've already done the work. I shot a lot of sections from fashion videos that are in store windows. Not the whole screen but just a little corner. But you mentioned seeing a laptop in Intimations. One thing you should notice is that the image on the laptop screen is not a computer image, it's a reflection of a tree out the window. That was a wry joke on my part.
NOTEBOOK: What compelled you to start filming people using their phones? Was it just that before that they weren't so prevalent in public spaces?
DORSKY: Yes. Actually, do you know what it was? The film I had made before April (2012), the film with George Kuchar, August and After (2012). George died. He was in hospice for a number of months. That became a preoccupation, visiting him everyday. When he died I felt released, that I could go back into the world in a way. Another thing happened simultaneously, Kodak came out with a new color negative, 50D 7203, and I noticed that it was very pictorial.
NOTEBOOK: Pictorial in what sense?
DORSKY: In the sense that you could take pictures of things. I tend not to take pictures of things because they're already complete, and when you photograph them you reduce them somehow. I try more to find something that by photographing it it becomes something. When I came back to the world I was walking around downtown San Francisco and I began to take more notice of these buildings that were all around. And everyone was on cell phones. That transition happened in about a year. I remember the first time I heard a cell phone ring on a train or in a bus, and it totally blew my mind that somebody was getting a phone call in the bus. I think it was only a year later that by that time they were everywhere. So it was a combination of two things: I came back into the world—and the world I saw was on the phone—then this pictorial stock came out, and it looked nicer to take pictures of things.
NOTEBOOK: In April and Intimations in the sequences where you're showing people on phones we also got these more pictorial portraits of people. Usually in your films we see hands or a part of a body but we don't often see faces, especially not looking at the camera or while in conversation. Here you had one really striking portrait of a woman with just a piece of her face lit. And just over her shoulder we see another woman on her phone adjusting some flowers to take a picture of them.
DORSKY: Like any visual artist, one is torn between working with the all over quality of the frame or working with depiction of figure. Every painter, photographer, is torn between these two things, the pictorial sense of figure introduces psychology and drama—the psychological state of the people you're shooting. They're dramatic in the sense that they become characters. It's a delicate balance. It changes the whole genre; if I'm just working with reflections and small details and abstractions, and part of people's hand gestures, it's all part of one world.
The minute you introduce a whole person… That was a problem I had to solve: how do you introduce a whole person without changing the whole genre? Is this a documentary? Is this a fiction? Do people know they're being shot and they're making believe they're not being shot? Is it just secretly stealing shots of people? Does that have its own meaning? I'm still torn between making a film human by including humans or making a film human by its abstract qualities; expressing the qualities of being human.
Threnody (2004)
NOTEBOOK: That brings me to a question about a film I haven't been able to see, William (2020). Based on just the stills, it seems to be far more concerned with the whole human figure. What pushed you in that direction and is that a sign of further experimentation to come or do you see that as kind of an anomaly within your filmography?
DORSKY: My friend Owsley Brown III's son William was studying screen acting at USC. We're both fans of certain noir cinematographers, like John Alton and Nicholas Musuraca, who shot Curse of the Cat People (1944), an extraordinary film. Musuraca shot several films for Jacques Tourneur, who always has a forest at night. William loved those films, so I said let's go to the park and we'll shoot some film together. This was thrilling for me because it wasn't a friend trying to be—as Bresson would say—a model for you, this was someone who was actively trying to create a reality in front of a movie camera. I loved that all of a sudden I was going to photograph someone who wasn't embarrassed or shy that the camera was pointing at them, but knew that he was part of the process of creating an image, as an actor. We went to the park three or four times and just like kids, played "movie."
William asked, "what's the plot?" I said, "your sister's kidnapped and imprisoned in a Tibetan monastery. You fly there in a private plane to save her, but on the way there your plane runs out of gas and you land in the jungle. So we come upon you at this point staggering through the forest. Maybe it's like an acid trip." We had a wonderful time, I was in charge of light and camera. I would set up the lighting limitations (all natural), and then he would be a character, either stalking, looking, or overwhelmed by beauty. Like anybody I love dramatic fiction, so it was enjoyable to shoot someone who wanted to create a dramatic fiction, who wasn't self conscious about being in front of the camera but in fact loved being in front of it.
I don't know if it is a public film or not. To me it's my friend's son, who I've known since he was an infant. To me, it's my friend's son, who I've known since he was an infant. One likes all kinds of cinema. Even the Library film came from a love Jerry and I had from childhood of industrials. I went to summer camp and on a rainy day we would see movies in the dining room. They would always be these industrials, like "how you make paper." So that came out of our love of the squareness of an industrial; the narrator, showing something. Do you know what an industrial is?
NOTEBOOK: Yes.
DORSKY: Are you sure? Not fibbing?
NOTEBOOK: Well, now I'm second-guessing myself. They're educational films?
DORSKY: An industrial is an educational film but usually it's made by a corporation or a company to promote their product in a subtle way. It's not an ad. There were some extraordinary industrials made in the '50s. William came from a love of noir black and white square screen films. An interesting thing is William's face—he's not of this age. I love films in the realm of the avant-garde from the late '40s and early '50s which usually have to do with a pursuit, one character following another character with late romantic classical music.
Aubade (2010)
NOTEBOOK: Since the onset of COVID you've completed six new films. Did a slow down of the world around you prompt an increase in your rate of production? Or has the change in the world flow otherwise influenced your approach in any significant way?
DORSKY: The world became sort of claustrophobic. I couldn't just go downtown in San Francisco and shoot on the street as if nothing was going on. It felt strange. It didn't feel real. I don't know how to say it. I couldn't just shoot a store window or people walking on the sidewalk and make believe that it was normal. I live right by Golden Gate Park so I began to hang out in the park because one had freedom there. You could not think about COVID, and you could shoot in that context and not feel I was lying, so to speak. A few of those films came out of being in a certain place.
[At this point Dorsky turns his camera toward the window. "You see my insulators?" he asks, showing me a collection of compact round glass objects in myriad colors, sunlight shining through. Before pointing out that "This is a life-changing moment, are you ready to be a different person than you were?" he proceeds to explain that the collection is made of insulators from the top of telephone poles, to protect them from short-circuiting in the rain.]
NOTEBOOK: When you said that when you finish a film it's dead, it becomes a corpse—
DORSKY: —It doesn't need you anymore, that's the saddest thing. This thing which you've given your whole psyche to, let's say for two months, suddenly didn't need you anymore. It's done. It must be like when parents send their kids off to college and suddenly the house is empty, that kind of feeling.
The first time you see a film outside of your editing room, on a big screen for instance, every screening becomes like a live music performance. It's also the psychic nature of the evening: you could have the exact same show two nights in a row—they would be very different. Which film came forward as the most interesting would change.
Everyone will come up to you and say, "you know, I really loved…" I say, "yeah that one really worked tonight." I don't quite understand that. There is a sense of them still being alive, especially when you go to different venues with different qualities, projectors, and audience vibes. It's still not that much fun to show films publicly. One of my favorite places to show films is Anthology Film Archives, the Maya Deren theater. First of all, they have the greatest projector, an Eastman 25 or 40, this projector that James Bond rebuilt. James Bond is the great American projector mechanic.
Anthology also has a very steep rake. I don't like a theater where people are looking up at the screen like it's on a stage. That's great for dramatic film, but for my kind of film it's much better, like a painting, to look straight at it. So a raked theater, everyone's looking straight at the screen rather than looking up at the screen like it's a stage. They're more enjoying the screen as a wall of energy.
So I'm sitting there and I'm saying to myself—you know the movie's looking as gorgeous as it's ever gonna look, there's a full house, everyone is quiet, and I go, "am I enjoying myself? Is this enjoyable?" and I said, "'no, I'm not enjoying myself." The adventure of making the films is the joy.
NOTEBOOK: Apart from not enjoying it, do you ever feel anything else just watching your own work with an audience, is there anything that resonates from those images?
DORSKY: You know what's fun is when you see a film you haven't seen in a long time. And now I've made enough of them—maybe too many—so that I don't know them anymore. I think I usually have the best time when I see a film I don't know anymore and I don't know what's going to happen next. Then a little bit of the original joy comes back. Once you know them, you know them. But when you don't know them anymore and you're surprised by them you can't guess what the next moment's going to be. Especially when it works. But you learn from it, you see weaknesses, strengths, you get cues about how to go forward. Especially in a situation where you're showing a number of films over a few days. You learn a lot.
Nathaniel DorskyLong ReadsInterviews
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  <type>political</type>
  <formatted_address>Gemeinde Hof bei Salzburg, Austria</formatted_address>
  <address_component>
   <long_name>Gemeinde Hof bei Salzburg</long_name>
   <short_name>Gemeinde Hof bei Salzburg</short_name>
   <type>administrative_area_level_3</type>
   <type>political</type>
  </address_component>
  <address_component>
   <long_name>Salzburg-Umgebung</long_name>
   <short_name>Salzburg-Umgebung</short_name>
   <type>administrative_area_level_2</type>
   <type>political</type>
  </address_component>
  <address_component>
   <long_name>Salzburg</long_name>
   <short_name>Salzburg</short_name>
   <type>administrative_area_level_1</type>
   <type>political</type>
  </address_component>
  <address_component>
   <long_name>Austria</long_name>
   <short_name>AT</short_name>
   <type>country</type>
   <type>political</type>
  </address_component>
  <geometry>
   <location>
    <lat>47.8191400</lat>
    <lng>13.2147200</lng>
   </location>
   <location_type>APPROXIMATE</location_type>
   <viewport>
    <southwest>
     <lat>47.7882699</lat>
     <lng>13.1574614</lng>
    </southwest>
    <northeast>
     <lat>47.8358400</lat>
     <lng>13.2731599</lng>
    </northeast>
   </viewport>
   <bounds>
    <southwest>
     <lat>47.7882699</lat>
     <lng>13.1574614</lng>
    </southwest>
    <northeast>
     <lat>47.8358400</lat>
     <lng>13.2731599</lng>
    </northeast>
   </bounds>
  </geometry>
  <partial_match>true</partial_match>
  <place_id>ChIJETJyDgqYdkcR9oHyQVK-cJs</place_id>
 </result>
</GeocodeResponse>


Vikrama Simhapuri University has issued Post Graduate Common Entrance Test(PGCET ) 2018 Notification 2018 and VSU invited online applications from the candidates who have passed or appearing for the final year examination in the qualifying degree for admission into Post Graduate courses as listed in its website (www.VSU.ac.in) leading to Post-Graduate degree in M.Sc., MA., M.S.W., M.Com., M.H.R.M., M.Ed., M.P.Ed., PGDAS., P.O. Diploma in Yoga., 5 Years Integrated Courses in M.B.A. and Nanotechnology for the Academic Year 2018-18 offered by Vikrama Simhapuri University Campus. PG Centre, Ongole and its Affiliated Colleges through VSUPGCET 2018. PG Entrance Exam would be conducted as per schedule 2018. After announcement of results/rank cards, counselling dates would be released. So, candidates should attend the certificates verification process with the following certificates. Candidates must be attend to VSUPGCET 2018 Entrance Test and Counseling are eligible for Fee Reimbursement.
No Candidate will be allowed into the Counseling Hall without Provisional Certificate (P.C) and Transfer Certificate (T.C).
1. The Order of merit will be decided on the basis of marks obtained in the Entrance Test. In case of tie, the tie will be resolved on the basis of Percentage of obtained in the Qualifying Examination, further tie will be resolved based on marks obtained in the Group subjects of the qualifying examination. Still, tie persists it will be resolved on the basis of date of birth in favour of older candidates.
2. Selection for Admission shall be based on the Rank obtained in the Entrance Test for courses mentioned in Table-I except M.P.Ed. In case of M.P.Ed. Admission will be made on the basis of the marks obtained in the entrance test and weightage of marks for sports achievements.
it will be informed to the candidates through SMS / E-mail.
4. If any candidate fails to report to the allotting authority (Director, Directorate of Admissions) when his / her Rank / Name is announced, he / she will be considered for allotment at the end of that Session subject to availability of seats and no explanation for the delay in reporting to the allotting authority will be entertained.
5. Candidate needs to pay Processing Fee and Prescribed Admissions Fee at the time of counseling in single installment failing which he / she has to forfeit his / her Seat.
6. Duly filled in declaration form given in Annexure - B and should submit at the time of counseling. 7. A Candidate once allotted to a college can avail transfer of college by paying Rs.300/- for the first time and only one more transfer is allowed by paying Rs.500/- subject to availability of seats and no more transfers are allowed.
10. The income certificate of the parent / guardian issued by M.R.O. is valid if it is issued within six months from the date of counseling.
11. The Fee Reimbursement is limited to the extent of Rs.20,000/- only (wide G.O. M.S. 56, S.W. Edn.-2. Dept dated 6.10.2003) and if the fee is over and above Rs.20,000/- the remaining amount has to be paid at the time of counseling failing which he / she has to forfeit the seat.
Reimbursement of Rs.20,000/- shall pay Rs.100/- additionally.


This page gives an overview of how bug reporting works.
make sure you can reproduce the bug, and explain to others how to reproduce it. If we can't reproduce your bug, we won't be able to fix it.
make sure your bug hasn't already been reported. Consult the lists of Reported Bugs.
make sure it isn't a feature request. To request new features or suggest modifications to existing features please use the Feature Request Form.
use the Bug Reporting Form to submit report bugs for WEXTOR.


Home Observations GPS > What GPS data?
The GPS observations that we provide are in the form of daily 30s files (24h of observations at 30s intervals) in the standard international RINEX format. Further information on the RINEX files.
the Earth orientation parameters of IGS.
Number of stations whose record length reaches x (years) value.
Cumulative number of stations whose record length is x years or longer.


text:
Q: How to customize a landing page layout so that a client can manage it? How can I customize several landing pages so the client can easily add/remove new categories without having to figure out the layout update bit.
Basically I have 2 types of landing pages, the default landing and a page for products that belong to an exploded view. In the exploded view product category I've added this to the layout update:
<reference name="content">
        <reference name="category.products">
            <action method="setTemplate"><file>catalog/category/exploded-view-landing.phtml</file></action>
        </reference>
</reference>

<reference name="root">
        <remove name="home.landing.catalog.product.new" />
</reference>

Which is fine, it works and allows me to setup a custom layout without issues.
HOWEVER
The client will need to add these "exploded view" pages on their own.  Finding, copying & pasting some XML from another resource isn't going to make them happy, I know it's pretty simple - but these are clients not developers.
Is there a way to achieve the same goal by using the local.xml and just having to train the client to "pick the right" layout/template from Page Layout drop down?

A: You can whip up a quick extension (How do I add a new template in magento?) to add new templates to the page layout drop down options for your client to easily select from.


STUDENTS! You will be on display. Are you the perfect specimen?
Get ready for the working world. Have your portfolio and résumé reviewed by local design professionals. Collect ideas from our expert panel and learn how to represent yourself and your work for success.


Whitehorse Dental is a modern dentist practice nestled in Melbourne's eastern suburb of Blackburn. We love teeth, and understand that providing an exceptional dental service takes a whole dedicated team.
We've gone the extra mile to make your dental care experience comfortable and pleasant by designing our dental practice to be a welcoming and warm environment. We enlisted the help of leading dental interior designer Antony Poate Design to create a modern and inviting clinic. Our goal is to steer your perception of dental care away from the sterile, intimidating and painful experiences that you may have had in the past.
Whitehorse Dental's highly personalised service and unique dental philosophy is focused on a whole mouth approach, not just looking at a single tooth. Our practice philosophy is to provide the most ideal treatment; treatment that lasts at least 10 years, provided regular preventative care is maintained. This is the type of treatment that we would want for our family and friends. Our highly experienced dentists take the time to do things well with meticulous detail. We believe in doing it right the first time.
All of our treatment products and equipment have been carefully selected to exceed the industry standard. We are also committed to using only Australian laboratories for our technical work so that quality control can be maintained at the highest standard.
A lifelong eastern suburbs resident, Dr Melissa completed her dental degree at the University of Melbourne. Dr Melissa graduated with Honours and received the Tuckfield and Shepherd Prize for the highest achievement in Prosthodontics. She has practiced in the Mornington Peninsula, Camberwell and at the prestigious Paris end of Collins St, before relocating her dental practice to Blackburn.
Dr Melissa loves continuing education. While most dentists are required to receive 20 hours of continuing education every year, Dr Melissa does more than double that! She currently flies to the USA every year to advance her training at the world renowned Seattle Centre for Clinical Excellence directed by Dr John Kois. Dr Melissa enjoys all aspects of general dentistry and has a particular interest in Periodontics (gum disease treatment), Prosthodontics (crowns and veneers) and Implant Dentistry. She prides herself on being a gentle and caring dentist and is committed to helping patients maintain their teeth for life. Dr Melissa strives to provide quality dental care that is tailored to her patients' individual needs.
Outside of work, Dr Melissa is a self confessed dog lover. She adores spending time with her puppy Charlie Brown at coffee spots around Melbourne.
Dr Melissa speaks both English and Mandarin.