text:
A good question
May 10, 2009 locusmag 10 Comments
Why is there no sf theatre?
I've talked before about my admiration for Nick Lowe's criticism, which has appeared in Interzone since 1985. The above question was one he asked in his second column (Interzone 14), and he helpfully proposed a number of possible answers:
a) Theatre is a moribund artform too inflexible to accommodate the mind-expanding concepts of modern science fiction.
b) Same, reading "science fiction" for "theatre" and vice versa.
c) Live performed sf would find itself competing unfavourably with the technical legerdemain available to recorded media.
d) Science fiction is an essentially popular genre and theatre is an essentially elitist medium; consumers of theatre and consumers of sf are minimally overlapping social groups.
e) Historical accident: no science-fictional plays established emulative traditions.
f) Genre sf is too crummy, radical sf too fringey, to be a bankable risk in a subsidised medium.
g) SF habitues are a bit of a bunch of dimmies and wouldn't touch live theatre with any more appreciation than they'd pick up Daniel Deronda or Travels with my Aunt.
Lowe allowed, perfectly fairly, that there were occasional individual instances of sf theatre such as Illuminatus or Little Shop of Horrors; but his core point was that there's "no sense of a tradition within the medium that new works can acknowledge, build on, plagiarize." Nearly 25 years on, I'm sure plenty of individual instances of sf theatre could be listed, but I think the general point remains. (Possibly indicative datapoint: the first four Google results for "science fiction theatre" are a tv series, a rock album, the tv series again, and a record label.) And certainly, there's a huge contrast between sf in theatre and in film – where sfnal works can be blockbuster or arthouse or anywhere in between, where directors can carve out careers for themselves primarily in the genre, and where CGI imagery has hugely augmented the possibilities of the form in the last two decades.
What I would like to suggest, though, is that there is a sense in which one can talk about the fantastic, more generally, as a tool in theatre. I'm not saying that there's a tradition of fantasy works in theatre; I am saying that there's a tradition of using the tools of the theatre to create fantastic moves. Some examples off the top of my head: the statue of Hermione coming back to life in Shakespeare's The Winter's Tale; J B Priestley's time-slip plays; the metafictional devices used by Tom Stoppard, such as the critics in The Real Inspector Hound getting trapped in the play they're watching; Martin McDonagh's The Pillowman, which flirts with the idea (and enactment) of the vicious fairy-tales written by its writer protagonist. I suppose the point of view I'm arguing is close to that put forward by Tony Kushner in his note on the staging of his play Angels in America (itself one of the great works of recent fantasy):
The play benefits from a pared-down style of presentation with minimal scenery and scene-shifts done rapidly (no blackouts!) employing the cast as well as stage-hands – which makes for an actor-driven event, as this must be. The moments of magic – the appearance and disappearance of Mr Lies and the ghosts, the book hallucination, and the ending – are to be fully realised, as bits of wonderful Theatrical illusion – which means it's OK if the wires show, and maybe it's good that they do, but the magic should at the same time be thoroughly amazing.
It was this approach that helped make Angels in America one of the most memorable experiences of my theatre-going life – and its absence made the HBO miniseries a lot less interesting. Film is a literal medium in which anything is possible – hence perhaps the difficulty in apprehending works that shade from "realism" into "dream" such as Kubrick's Eyes Wide Shut. But theatre is (or, at least, can be, and perhaps is most at home being) figurative. Perhaps that's another answer to Lowe's question: many readers expect science fiction to be literal and widescreen when it depicts the future, and that simply isn't what theatre's best at.
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Roundtable: All the Awards (Part 2 of 3)
Party Line Voting for SF/F Awards? Hmm
James Patrick Kelly: Writing Teaches Writing
10 thoughts on "A good question"
Russell Letson
Are we wondering about the presentation of the fantastic in theatre vs. film (or text)? Or about which kinds of fantastic narrative fit which presentational traditions? Or about whether the science-fictional mode of the fantastic is better served (whatever that might mean) by film (or the theatre-of-the-mind of text)than by the stage?
The history of fantastic stories (as distinct from coups de theatre) on stage seems to suggest that for some modes of fantastic, the more "literal" and believable and immersive, the better. When I think of fully fantastic plays, I come up with, first, the gothic thrillers that go back to the Romantic-Victorian period (Dracula, Frankenstein) and were, I suspect, the equivalent of later film versions of the same stories: filled with convincing, "magical" effects. This tradition goes back at least to the stage effects of the masque and is echoed in an odd way by the ghosts and apparitions in Shakespeare (Macbeth, Richard III), which could depend on traps for their sudden appearances. (On the third hand, I suspect that Macbeth's dagger of the mind was not seen by the Renaissance audience.)
Then there are the plays–Midsummer Night's Dream, Tempest–that are inherently and fully fantastic whether stage magic is deployed or not. The worlds (because of the words) of these plays are fantastic, and productions generally work hard to express this, even though they can operate in a bare-stage environment.
In the pre- and early-film era, Shaw's Back to Methuselah and Capek's R.U.R. are similar to the Shakespeare examples in that they are "real" SF in their thematics, independent of presentational modes. I don't think an audience that is fully engaged with the texts of these plays requires elaborate stage effects. A stage version of, say, Star Wars, on the other hand, might seem anemic without them.
"Theatricality" often taken to mean "spectacle," and the history of theatre certainly supports this. There seems to be some sort of divide in the kinds of spectacle that audiences look for. Certainly most popular SF seems to operate most effectively on film, where really big effects sequences try to literalize really big events, generally to the detriment of everything else.
When the economics of production support it, though, there's a parallel phenomenon in theatre, if what I've heard about, say, Les Miserables or Phantom of the Opera is true. People paid big ticket prices to see big stuff happen live in front of them, often to the accompaniment of mediocre music.
Come to think of it, how much non-spectacle SF has ever found its way to the wide screen? The economics of film production don't encourage that end of the SF spectrum any more than those of the theatre. Even with the enormously expanded audience offered by a nation of multiplexes, the SF of comic books and toy franchises is the safe bet, while the quite filmable work of, say, Nancy Kress doesn't even get a first thought.
Gary Wolfe
As you've both noted, there's no shortage of the fantastic in theater, and the proportion probably even gets more notable when we add in allied forms such as opera and ballet. And as Graham notes, there may be a larger tradition of science fiction plays than we think, but a lot of it is hidden in smaller local or regional productions that don't get a lot of attention. Here in Chicago, for example, a small but popular company called The Organic Theater produced versions of The Sirens of Titan, The Forever War, and The Wonderful Ice Cream Suit as well as a three-part space opera called Warp! back in the 1970s (the latter well before Star Wars)until the director, Stuart Gordon, went to Hollywood to make horror movies. I can think of other examples of plays based on works by writers such as Le Guin, Farmer, and Ryman since then.
There are even a few books about science fiction plays, and they pretty much all start by asking the same question that Nick asks: why isn't there more? And they tend to come up with his same hypotheses. (One such book is Ralph Willingham's Science Fiction and the Theatre, 1993.)
But virtually none of these localized SF productions make it into the theatrical canon, and Nick's point that there's no sense of a tradition to speak of is certainly valid. And I suspect part of the answer is that it may be the wrong question. What we think of as SF is for the most part a popular narrative genre, and theater, at least in the 20th century, hasn't organized itself along the lines of popular narrative genres. There's really never been a tradition of theatrical Westerns or horror stories, and when an occasional mystery shows up on stage, it's likely to be presented as a one-off "event" like Dial M for Murder or Sleuth. On the other hand, there are lots of comedy traditions in theater–but this is probably because it's a highly performative genre which can generate instant audience response. Apart from its potential for spectacle (hard to bring off on stage without huge investments), SF has never been that performative. Like Russell says, SF without the spectacle hasn't had a huge success in the movies, either.
Try tracking down lists of theatrical genres and you'll probably find things like realism, absurdism, comedy, tragedy, musical, maybe historical drama, but probably not much reference to any of these popular narrative genres I mentioned. And the few theatrical directors I've talked to aren't much interested in them either; they think of what's stageable, actable, blockable. If the fantastic turns out to be part of that, fine, but it's by and large not where they're coming from.
There's not really a sense of an SF tradition in mainstream literature either but we wouldn't say they produce no SF. I'm not sure why it is important. And if those in the literature mainstream consider themselves sui generis then that goes double for theatre practitioners.
Some I'm not sure "Why is there no sf theatre?" is a good question. I would turn it around and ask "Why would you expect to see any more sf theatre than already exists?"
Martin McGrath
It seems slightly strange to be asking this question in the week when the biggest opening in London theatre is Kevin Spacey's sold out Waterloo project – inspired by Lang's Metropolis and building on works like Punchdrunk Theatre's adaptation of The Mask of the Red Death. There's absolutely no shortage of spectacle there.
Even if we exclude musicals like Wicked! or Lord of the Rings and plays like Waiting for Godot, Life is a Dream, Panic and The Tempest which inlcude fantastical elements, a theatre-goer looking for the sfnal or fantastic in contemporary theatre isn't without choice.
London's West End theatres this week are showing Sarah Kane's horrific 4:48 Psychosis, Tom Stoppard's Arcadia – with its themes of mathematics, science and intermingling time-streams, Grasses of a Thousand Colours Wallace Shawn's play about a scientist in an alternate reality and When the Rain Stops Falling – a story that is set across 80 years from 1958 to 2038 and features the Australian desert inundated by rain.
In the coming months Mark Ravenhill will adapt Terry Pratchett's Nation and Unlimited Theatre's tour of their latest sfnal play The Moon The Moon will get a run at the Southwark Playhouse (following up their excellent earlier sf work Neutrino, Tangle and The Ethics of Progress).
I'd also point to plays like Copenhagen and On Ego which are definitely sfnal in their themes and story telling, even if no one ever calls them sf in the theatre world.
And I guess that's the point, you're right no one is going to put down sf as a genre in theatre, but that doesn't mean that there isn't a strong thread of theatre writers and producers using the fantastic to tell stories. When I first thought about this, I thought sf theatre was marginalised, but actually I've started to wonder if it isn't the exact opposite. It seems to me that you could make the argument that the use of sfnal material has managed to avoid being placed in the "ghetto" of genre in the that it has in literature or film, it's judged on whether it works in the context of the play and the telling of the story.
David G. Hartwell
I saw Warp in the 1970s in NYC, where it closed immediately after being a long-running hit in Chicago. And Vonnegut's "Happy birthday, Wanda June." but I have been to much too little theater in the last couple of decades, and though I have sent reviewers to SF/Fantasy plays in NYC, I have had bad results in actually getting reviews written and published in NYRSF. But I am with Martin McGrath, and feel that there is a lot there that is being ignored or marginalized by us in the genre because it is mostly not being promoted as genre.
Much of Fritz Leiber's work struck me as ready for translation to theatrical presentation, e.g., The Big Time, all of which (if memory serves) plays out in a theatre-sized station outside the timestream, and all the scenes of grand scope all related by characters' dialog (told, not shown). Wasn't Leiber involved in theatre in some way? Son of boardtredders or occasional actor or playwright himself or some such?
John C. Snider
I think those who say there is NO science fiction theatre are, perhaps, not looking very hard. I live in Atlanta (not exactly a hotbed of live stage entertainment compared to NYC, LA or Chicago) and I've attended and/or reviewed something like two dozen stage productions in the last 10 years which arguably fall under the umbrella term "science fiction." These include adaptations like War of the Worlds, Island of Dr. Moreau, and Clockwork Orange, as well as original productions like Bug, Geek Love, and Echoes of Another Man (about a brain transplant patient). And this counts only the productions I have chosen or been able to attend! Atlantans could probably attend a SF-ish play four or five times a year.
I should also point out that the Atlanta Radio Theatre Company routinely performs regionally, providing adaptations of classic works by Wells, Heinlein, Lovecraft and others, not to mention their own original (often satirical) works.
While I concede the point that SF is under-represented in the vast landscape of live theatre, it does exist. From R.U.R. to Flowers for Algernon, it's been there and it's still there.
Finally, if there's such a dearth, why don't the professionals step up? (I know, I know, it doesn't pay.)
Graham Sleight
A bunch of things to respond to here; thanks, all for comments. I guess my main point would be to return to something I said in my original post: I'm not maintaining that there is no sf theatre, I'm maintaining that there is no tradition of sf theatre (in the way that there's a tradition of written sf, or musicals, say). That's not a claim you can argue against by listing productions; you have to do so by seeing if sf theatre has the things we associate with a genre – a commonly accepted identification, common critical tools, people making a career in sf theatre, a sense of continuity and conversation between productions, etc. One of the things about theatre is that you can have a localised genre – you may be able to argue that there's a tradition of sf theatre in Atlanta, say.
I'm also maintaining, separately, that there is a tradition of using fantastic (rather than specifically science-fictional) moves, whether "spectacular" or not, in theatre. If there's one thing I'd emphasise, it's that those different propositions (and, more generally, "science fictional" and "fantastic") should not be smudged together.
[First] Martin's question has been bugging me: "Why would you expect to see any more sf theatre than already exists?" Well, principally by analogy with film. If science fiction films make up such a high proportion of box office hits, why isn't that the case in theatre? The audience is clearly there for, let's say, sitting in a darkened room and watching an sf story. Why on a screen and not on a stage? Increasingly, I think the answer is Lowe's c): our expectations of visual science fiction are often expectations of special-effects spectacle, which the stage just can't deliver.
Jonathan C
Well I certainly have been to see a few SF musicals in the West End (London): Rocky Horror Show, Shop of Horrors, Forbidden Plant and 'Cats' is arguably fantasy.
I see this no less a theatrical tradition as say theatrical detective musical
s or western musicals. (And like other commentators above I have seen loads of small productions: Solaris, Hitch-Hikers Guide, Science Fictions…
Yes SF has a written tradition but it is still very much a minority tradition w
ithin
the book industry/cannon/whatever and so similarly SF theatre is minority.
Is it really that surprising?
simon@kins
You know, I was going to say that theatre doesn't scale, mass media can hit the SF demographic more profitably than the performing arts, stuff like that. But after a bit of thought, I'm going to say it's homophobia on SF's part and geekophobia on theatre's part. Uniting the two is double jeopardy. What are the odds of someone liking Cole Porter and the Honorverse? Still, Rocky Horror Picture Show works and someone in the thread mentioned Little Shop of Horrors.
I bet Howard Waldrop could do it.
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The New York Times on Locus
"Anyone whose interest in SF extends beyond reading it to wanting to read about it should be aware of LOCUS."


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On Monday a meeting convened by the Kerala congress party leaders led by Scaria Thomas (anti-merger faction) announced the removal of P C Thomas as the chairman of the party.
The party leaders who met on Monday elected Scaria Thomas as the new chairman. V. Surendran Pillai MLA is the new working chairman of the party.
Inaugurating the party meet, Scaria Thomas said that the party was not interested in a yet another split and pledged to go ahead together.
He added that P.C. Thomas will be accepted if he corrected his stand and returned to the party fold.
Scaria claimed that his faction has majority in all the 10 district committees of the party and the feeder outfits.
Src:- http://english.manoramaonline.com/news/kerala/pc-thomas-removed-as-kerala-congress-chairman-kerala-politics.html
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Deflating Loss — ALCS Game 3: Houston 4 NY 1
October 17, 2019 paperbacklou 2019 0
Hopefully, the 3-run BOMB by Didi Gregorius that died and was caught at the wall in right by Josh Reddick in the 5th inning will NOT be remembered YEARS from now — it would have put the Yanks ahead 3-2 and probably sent Gerrit Cole to the showers, and possibly given the Yanks this game, and a 2-1 lead in the series.
If the Yanks lose this series — that may have been the turning point. If they win the series, it will be a footnote.
Un-Livened Baseballs
They seem to be playing with 'un-livened' baseballs in the playoffs. As Mike Vaccaro put it, "In April, May, June, July, August and September, Didi Gregorius would've just made this a 3-2 game. It is October. It remains 2-0."
As Alan Hahn said, "What other sport changes the actual ball in the postseason?!"
Yankee Manager Aaron Boone, when asked if the lively ball had been removed for the playoffs, said ""I don't know, I don't think — (pause) — Hard for me to say at this point. You know, I've heard a couple of — things about that. Umm, I don't know."
To be fair, catcher Martin Maldonado hit a DEEP fly ball that was caught at the wall in left the very next inning, so maybe with the same lively ball they played with during the regular season it would have been a tie game. And who knows who would have won. With a lively ball, Aaron Judge would have probably hit a 3-run homer his third time up in Game 2. In fact who knows what this series would be like with the same lively baseball they played with during the regular season.
1998 Playoffs — Thome Caught at the Wall
But if the Yanks lose the series, that Didi non-homer will stick in the craw of Yankee fans for YEARS — dozens of years. I still remember 1998 ALCS vs Cleveland, game 4, Yanks down 2-1 in the series, and "El Duque" Orlando Hernandez on the mound with bases loaded in the 1st and Jim Thome up — Thome hit a ball that had Grand Slam written all over it — but Paul O'Neill caught it with an outreached glove with his back to the right field wall. El Duque settled down and pitched a 2-hit shutout and the Yankees rolled on to the World Series.
You remember these things for YEARS. "That's baseball, Suzyn."
Yanks Put "Traffic" on the Bases Against Cole
As Aaron Boone mentioned in the post-game interview, the Yanks had a lot of traffic against Gerrit Cole, but he managed to get the outs to end threats. In the 1st, DJ LeMahieu singled and Aaron Judge singled to put 1st and 2nd and nobody out. But Brett Gardner was not called upon to bunt, and instead popped up. Edwin Encarnacion popped up. Gleyber Torres walked to load the bases, but Didi Gregorius grounded out. Yankee Twitter was second guessing the non-bunt by Gardner to no end afterwards.
Luis Severino was roughed up early — a home run by Jose Altuve on the first pitch. He then proceeded to get into a bases loaded jam in the 1st but got out of it. He allowed a homer in the 2nd to Josh Reddick and it looked like it was going to be a long evening for Severino. Through 2 innings he had already thrown 61 pitches. But he settled down. Importantly, he got through the 3rd on six pitches and ended up doing his job — 4.1 innings, 2 runs. That was probably the best news of the night.
Chad Green and Tommy Kahnle pitched shutout ball to get the Yanks to the 7th down 2-0. But then Adam Ottavino and Zack Britton put the Yanks in a deep hole. Ottavino allowed a leadoff walk to George Springer and a single by Jose Altuve, and then Zack Britton came in, got a groundout but then intentionally walked Alex Bregman to set up bases loaded, 1 out. Britton threw a wild pitch scoring Altuve and then 1st baseman Yuli Gurriel hit a sac fly to make it 4-0 Houston.
Gleyber Torres continues to hit — he got the Yanks their lone run in the 8th with a home run to make it 4-1.
Gleyber Torres puts the Yankees on the board in the 8th.
(#ALCS on @FS1) pic.twitter.com/cxjdZdERmw
— YES Network (@YESNetwork) October 15, 2019
Luis Cessa provided 2 shutout innings to keep the Yanks in the game but they never brought the tieing run to the plate in the late innings.
Some other good news: Edwin Encarnacion's bat seemed to be waking up. He worked the count against Cole, and ripped a double to left in the 5th off him.
The Boxscore
https://www.espn.com/mlb/boxscore?gameId=401169098
Heartbreaker — ALCS Game 2: Houston 3 NY 2 in 11 Innings
On the Ropes — ALCS Game 4: Houston 8 NY 3


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Contagious disease is not a problem. With regular use of Model A3, your method is super-charged to withstand disease. It is reasonable to anticipate that, upon exposure to infectious diseases, you will not contract the illness. Or you'll have a mild case.
Together with Model A3 you can intervene at a health emergency, for yourself and others. Utilize your system to promote healing of sprains, breaksand surgical procedures, along with other harms. Prepare to be amazed by your hastened retrieval!
*1 Accessible with Performance Package.
* These statements should not be construed as claims, but are based on visible outcomes and the simple science of this tech.


text:
More translations needed for Chinese literature to expand worldwide
By China Times on December 9, 2012 No Comment
Mohammed Elshijh, an Egyptian doctoral candidate at Beijing Language and Cultural University, chose to study Chinese literature after receiving his bachelor's degree in 1999.
As countries with long, rich histories, China and Egypt have much in common, Elshijh said, adding that Mo Yan, winner of the 2012 Nobel Prize for Literature, is also popular in his motherland.
"I have read Mo's novels such as 'Red Sorghum' and 'Life and Death Are Wearing Me Out.' His books are full of the smells of the countryside and reflect the relationship between the land and farmers," Elshijh said.
On Oct. 11, Mo, 57, became the first Chinese national to win the top literary prize. He will attend the formal award ceremony on Dec. 10.
The Swedish Academy described Mo's works as having combined "hallucinatory realism" with Chinese folk tales, history and contemporary life.
"Through a mixture of fantasy and reality, historical and social perspectives, Mo Yan created a world reminiscent in its complexity of those in the writings of William Faulkner and Gabriel Garcia Marquez, at the same time finding a departure point in old Chinese literature and in oral tradition," read the academy's citation for the award.
Elshijh said he felt fairly excited when he learned that Mo won the literary prize.
"Mo's winning of the prize is pushing Egypt to translate more of his works into Arabic," Elshijh said, adding that there is already an Arabic edition of "Red Sorghum," but Egypt's Ministry of Culture recently announced that it will translate another of Mo's works from Chinese to Arabic.
However, contemporary Chinese literature remains less influential than mainstream Western literature, Elshijh said.
Cheng Shu teaches advanced Chinese reading in the International Chinese Language and Culture Center of the Beijing-based Tsinghua University. She was surprised that many of her students, who were all from other countries, were following the news of Mo's award.
"I know Mo's works are probably too difficult for them, but I still recommended that they read some," Cheng said.
Although Chinese literature is getting more attention around the world, translated versions of Chinese works remain in small supply in places like the United States and Europe.
Jonathan Chuck, an American who has been working in social media for three years in China, has read some ancient Chinese classics in English and can name several ancient poets such as Li Bai.
Chuck said works of Chinese literature are hard to come by in the United States, as bookstores simply don't carry many English translations. "Besides, China is considered a mysterious country and far away from our daily life."
Chuck said when he was in school, pupils mostly studied Western literature translated from French, German and Portuguese, not literature translated from Asian languages.
"China's Nobel prize will inspire more Westerners to notice Chinese literature, and I may read some of Mo's works," he added.
Li Ling, a professor at Beijing Language and Cultural University, said Chinese literature has less of a market than English-language literature because Western culture is the dominant culture.
Moreover, it is difficult to fully express some Chinese words in English, which can limit Chinese literature to a Chinese-literate audience, Li added.
In October, literary critic Zhou Limin noted that Western works are easily introduced to China and are favored by many Chinese readers even if they are not translated well.
"Western readers are more picky about what they read," he said, explaining that if a Chinese book is not translated well, it would be "out of the question" to recommend it to Western readers.
Li expects China's Nobel laureate to expand foreign readership.
"Some of my postgraduate students are quite diligent in studying contemporary Chinese literature," Li said, adding that it is "not only the ones from Asian countries such as Vietnam and Thailand, but also those from developed countries like Italy."
The dissertations foreign students hand in convey a deep understanding of Chinese literature, and they are as good as their Chinese counterparts, Li said.
art, education
More translations needed for Chinese literature to expand worldwide added by China Times on December 9, 2012
Chinese writer Mo Yan wins 2012 Nobel Prize in Literature
Mo Yan awarded 2012 Nobel Prize in Literature
Chinese scholar wins Russia's Likhachov prize


text:
Q: Start a process in Powershell v2 with user credentials and a hidden window How to do this in Powershell v2.0 ?
Start-Process cmd.exe -Credential $MyCred -WindowStyle Hidden;

i.e. start a process while giving user credentials and hiding the window.
When i execute each one separately it just works fine.

A: You may try something like this:
$cred=Get-Credential
Start-Process cmd.exe -Credential $cred -WindowStyle Hidden

redpajama_set_name: RedPajamaStackExchange


text:
Every action has its own reaction
Questionnaire: 'Swami, kindly clarify whether the statement "Every action has its own reaction" clarified by Swami during the last satsang.'
Swamiji: I wanted to allow this statement with a new understanding: Every reaction carries its own action. Please understand, because you do not know what is action till you achieve completion, all your so-called action is nothing but a reaction of incompletion. So, every reaction has its own action. "Every action has its own reaction" is not a complete statement. Every reaction has its own action, or re-reaction. All action you do out of incompletion is reaction. It is not action. Till you complete, you do not know how the space of action will feel. So, whatever you call as reaction, whatever you call as reaction is nothing but action. Understand, it is nothing but action. Whatever you call as action is nothing but reaction. Whatever you call as reaction is nothing but action.
You may say how the reaction can create action? When it is chaos and something happens after you do something, it can be called only as action. Because, many a time, your reactions don't cause the reactions you want. It means something else is acting. That has to be called only as action, because it is not the right reaction, your reaction expected. How many of you are getting it? If it is a reaction as you planned, it can be a reaction.
Most of the time, because your action is a reaction of your incompletion, the reaction of your reaction cannot be called as reaction, because it does not bring the reaction you expect. So, it has to be called as action. The reaction to the reaction is not the reaction you expected. So, naturally it can be called only as action.
SriCompletion, Inner Awakening, Inspiration, Motivation, Q&A, SpiritualityAction, Action - Reaction, Completion, IA, Incompletion, Inner Awakening, Nithyananda, Poornatva, Swami Nithyananda, SwapoornatvaLeave a comment
Fear of public speaking is nothing but fear of talking to yourself
Life has no pleasures other than Enriching!


text:
Q: TLC 5952 Blank pin control Can BLANK pin of TLC5952 device be permanently connected to ground or does it need to be toggled (once at the startup or each cycle...)?

A: Blank pin does not need to be used to display changes in LED states, but is required for the fault detection circuits on LEDs. (open (LOD) and short (LSD)
LOD/LSD data are not valid until 1 µs after the falling edge of BLANK.


text:
Young Yu
(973) 559-9849yyu@oslaw.com
Young Yu has a diverse litigation practice, with an emphasis on complex commercial litigation, contract disputes, business torts, and defense of consumer class actions.
As an experienced litigator, Mr. Yu counsels and represents corporate and individual clients from pre-suit investigation through verdict in state and federal courts, arbitrations, and other dispute resolution forums. He helps clients navigate and resolve shareholder, partnership, and joint venture disputes. Mr. Yu offers clients business-minded solutions and strategic advice on corporate governance issues, risk management, restrictive covenants, and other sensitive matters. In addition, he has successfully defended prominent professional service firms and licensed professionals against claims for malpractice, fraud, and breach of fiduciary duty.
Mr. Yu has been recognized on the Rising Star list by New Jersey Super Lawyers in the area of Business Litigation from 2018 through 2022.
Before joining O'Toole Scrivo, LLC, Mr. Yu was a commercial litigation associate at a national law firm.
Successfully defending one of the nation's largest logistics companies in a whistleblower action alleging retaliation, breach of contract, and unfair trade practices.
Securing final judgment for a client in a business divorce action over a multi-million dollar real estate portfolio following a two-year private arbitration on valuation and damages.
Successfully defending private companies, directors, officers, and REITs against class actions, RICO claims, and other claims brought under federal and state consumer protection laws.
Assisting with the trial and defense of a leading food supplier in a breach of contract lawsuit in federal court.
Successful defense of law firm and lawyers arising from physician disciplinary proceedings in the Supreme Court of New York, which the First Department affirmed unanimously on appeal.
Securing dismissal of a $34.3 million legal malpractice claim on summary judgment in the Supreme Court of New York, New York County.
Conducting internal investigations concerning allegations of director misconduct, diversion of corporate opportunity, fraud, and breaches of fiduciary duty.
Advising global insurance company on recovery efforts relating on political risk and multi-buyer international trade credit claims.
Pro bono matters include aiding a Mauritanian refugee to secure asylum in the U.S. after facing persecution due to sexual orientation.
Results may vary depending on your particular facts and legal circumstances.
Listed in New Jersey Law Journal, New Leaders of the Bar (2022) (conferred by ALM | Law.com)
Listed in New Jersey Super Lawyers® Rising Stars (2018-2022) for Business Litigation (conferred by Thomson Reuters)
No aspect of the advertisement has been approved by the Supreme Court of New Jersey or the New York State Court of Appeals. Click here to view Awards/Honors Methodology.
Membership & Affiliation
Bergen County Bar Association
Hon. Frederick J. Theemling, Jr., J.S.C. (Ret.)
White Collar Criminal Defense & Government Investigations
Rutgers Law School, J.D., Managing Editor, Rutgers Law Review
The College of New Jersey, B.A., Political Science
U.S. District Court, District of New Jersey
Copyright © 2023 O'Toole Scrivo, LLC
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This website is not intended to serve as an advertisement or solicitation. Prior results do not guarantee a similar outcome. If you have any questions concerning attorney advertising rules, please contact us at info@oslaw.com, or via phone or mail.


August 12 2018, admin uploads Political Map Of Ukraine. The Political Map Of Ukraine has been created with briliant ideas, beautiful combined colors and follow trend of printable maps, so the Political Map Of Ukraine will give you the real of maps you need . more over The Political Map Of Ukraine.
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text:
Q: W3C dom api in Java Take a look at the example code...
  NodeList folderNodes = document.getElementsByTagName("Folder");
  DocumentFragment node = (DocumentFragment) folderNodes.item(0);

It was very easy to do "getElementsByTagName" on the document but when I want to do this again on the DocumentFragment it seems I cannot.  How do I go about furthering this query?

A: Use Element instead of DocumentFragment:
NodeList folderNodes = document.getElementsByTagName("Folder");
Element node = (Element)folderNodes.item(0);

NodeList subNodes = node.getElementsByTagName("OtherNodes"); // and so on...

The Element interface supports getElementsByTagName, whereas DocumentFragment is minimal and really doesn't do much.


text:
El atentado de Beledweyne de 20222 ocurrió el 9 de febrero de 2022 cuando un terrorista suicida de al-Shabaab mató a 14 personas dentro de un restaurante en Beledweyne, Somalia.

Trasfondo
El grupo terrorista islamista al-Shabaab, la rama somalí de al-Qaeda, comenzó su insurgencia durante la fase 2006-2009 de la Guerra Civil Somalí. Participaron en batallas en Beledweyne, Hiran, estado de Hirshabelle en 2008, 2010 y 2011. En 2009, llevaron a cabo un atentado suicida con coche bomba en un hotel allí, matando a 57 personas. En 2013 llevaron a cabo allí atentados suicidas en un restaurante y en una comisaría.

Ataque
Durante la mañana del 19 de febrero de 2022, un terrorista suicida detonó una bomba en un restaurante de Beledweyene. Mató a 14 personas, incluido un candidato a las elecciones presidenciales del mismo mes e hirió al menos a otras 12. El mismo día, al-Shabaab se atribuyó la responsabilidad del ataque.

Repercusiones
El 23 de marzo de 2022, dos atentados suicidas más mataron a más de 30 personas. El primero mató a Amina Mohamed Abdi y a muchos de sus guardaespaldas, mientras que el segundo fue un atentado con coche bomba contra un hospital en Beledweyne.

Referencias

Enlaces externos

Somalia en 2022
Asesinatos masivos en 2022
Atentados terroristas en Somalia
Atentados del terrorismo islámico en 2022

redpajama_set_name: RedPajamaWikipedia


text:
if [[ "$*" =~ .*\-\-typescript.* ]]
then

        DIR=$( pushd "$( dirname "$0" )" &>/dev/null && pwd && popd &>/dev/null)
        source $DIR/../../env.sh

        echo "Installing typescript-vim"
        pushd $BUNDLE &>/dev/null
        checkinstall "typescript-vim"
        if [ -z $YESNO ] || [ $YESNO == "y" ]; then
                storetobackup typescript-vim
                git clone https://github.com/leafgarland/typescript-vim
                echo "$DONE"
                appendfiles "vimrc-*" $DIR
        fi
        popd &>/dev/null

fi

redpajama_set_name: RedPajamaGithub


I need some help. As the title says, I need a flywheel for my 914-6 conversion. I have a 3.0L engine and a 901 trans. Where can I find a flywheel for this application?
Please help, we have the car, the engine, the trans with clutch...but no flywheel.
Kennedy Engineering make an adapter ring that fits the stock 3.0 flywheel. Bolts right up. They sell the clutch and to bearing too.
"The Flywheel" is a very useful analogy for implementing business strategy created by Jim Collins. It describes how driving a new strategy is like getting a huge flywheel into motion. Initially, there is no movement – many people think that the strategy is absurd – it is almost impossible to imagine the flywheel at speed. With great exertion of will, the CEO is able to deliver some results that get the flywheel moving. They appear small and trivial initially, but create the credibility to move to more ambitious results. As more and more results accumulate, more and more people throw their weight behind the wheel and the momentum of the flywheel builds and builds.
How do you do the analysis?
How can you adapt this concept?
Thanks Krieger and Perry Kiehl for the info on Kennedy. I will contact them on Monday.
Really appreciate the helpful response.
The depth of knowledge in this forum is incredible.
PS: The analogy of the flywheel is very good, but not helpful in this particular case.
I used Kennedy flywheel and such in 222. Worked great.
Also Patrick Motor Sports has some superlight flywheels and such. Like 13lbs with the pressure plate and clutch disk. Great for racing applications, but pricey.
I've found PMS sources most of their stuff from KEP/Kennedy and then marks it up.
Since I am in there ( an expensive comment) what is benefit / downside of changing to aluminum flywheel..
Any guidance would be appreciated .
The benefits of a lighter flywheel are: 1) a quicker response to on throttle inputs and 2) a quicker free-er revving engine. For your track car (green) it is virtually a no-brainer. The lack of weight, as compared to a steel flywheel, can make it more difficult to launch the car from a stop. Both you and Eric will easily adapt to the slight change...at least Eric will! The reason you routinely see race cars stall coming out of pit stops. To launch consistently with a very light flywheel, it requires a fair amount of throttle and slippage. The difference will be negligible with a full size flywheel. Capiche?
Hold on - Kennedy tells you exactly what torque and hp can be handled by their products!
Hold on - Kennedy tell you exactly what torque and hp can be handled by their products!
Thought I should post an update to the thread since I ordered a flywheel today. The truth is that there was not much of a choice, but we ordered the flywheel from Kennedy.
It should ship in a week or so, and then on to the car. Ya baby, we are making progress now.
I will post again after the flywheel is installed.
Pics would be nice! The last 3.0 I did used the stock flat flywheel and the special 901 style ring gear that bolted right up. The clutch looked to be some kind of stock part, but the TOB had been modified from something else.
If you're still looking for one, I have it! We just took it out to put a 915 in our car. Call me at 603-674-3250.
Hi Matt, thanks for the offer. I sent you a PM.


text:
Francisco Javier Amérigo y Aparici, né le  à Valence et mort le  à Madrid, est un peintre espagnol spécialisé dans des scènes historiques.

Biographie

Études
Francesco commence ses études à l'Académie royale des beaux-arts de San Carlos à Valence, où son principal instructeur est , le père de Salvador Martínez Cubells, qui deviendrait le meilleur ami de Francisco. Pendant son cursus, il reçoit une médaille lors d'une exposition à Alicante (1860) avant de rejoindre l'Académie royale des beaux-arts Saint-Ferdinand à Madrid.

Installation à Rome (1865-1877)
En 1865, il part étudier à Rome ou il se familiarise avec Eduardo Rosales et Mariano Fortuny qui auront une forte influence sur son stylé.

En 1876, il présente son œuvre Vendredi Saint au Colisée de Rome, à l'Exposition nationale des Beaux-Arts, où il reçoit le deuxième prix.

Retour en Espagne

Il retourne en Espagne l'année suivante ou il expose Le sac de Rome. Ce travail est dédié à son ami Victor Balaguer, homme politique et auteur catalan et fera plus partie de la collection de la Bibliothèque Musée Victor Balaguer.

Références

Liens externes

Élève de l'Académie royale des beaux-arts de San Fernando
Personnalité liée à Valence (Espagne)
Peintre espagnol du XIXe siècle
Peintre d'histoire


This event type allows user to register ticket for individual or group, based on selected option, corresponding register form will appear.
Etiam a Praesent nec lectus eu neque fringilla volutpat. Nulla tristique ullamcorper quam, ut dapibus massa hendrerit ac.tempus lectus.


and just sit around someone you like all day long. That's what these lazy cards are doing.
Go and get these printable cards on our site!
Just saw this article today about 'lazy' french parents.
Hope you can be lazy sometimes!


text:
using System;
using System.Text;
using System.Collections;
using System.Collections.Generic;

namespace Com.Aspose.Cells.Model {
  public class SplitResultDocument {
    public int? Id { get; set; }

    public Link link { get; set; }

    public override string ToString()  {
      var sb = new StringBuilder();
      sb.Append("class SplitResultDocument {\n");
      sb.Append("  Id: ").Append(Id).Append("\n");
      sb.Append("  link: ").Append(link).Append("\n");
      sb.Append("}\n");
      return sb.ToString();
    }
  }
  }


There is a nice lib for Perl for working with processes in Linux. And it could be used to get PIDs of processes that have been working more than some amount of time.
Now you can use simple wrapper to kill them gracefully.