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Home The Arts Art Greenpoint's Light Industry, Illuminating the Obscure for Cinephiles and All the Rest...
Greenpoint's Light Industry, Illuminating the Obscure for Cinephiles and All the Rest of Us
Nicole Disser
Photo by Nicole Disser
I challenge you to find something you've heard of screening at Light Industry, the Greenpoint-based non-profit film program dreamed up by Thomas Beard and Ed Halter. Starting out back in 2008 inside former light industry space in Industry City (hence the organization's name), Light Industry has since moved up to Greenpoint, but their commitment to the obscure, the rare, the weird has remained. Absolutely every film screened through their reel booth (something that looks more like a tree house than anything you'd find in a movie theater) seems to have either been dug up from the nether regions of cinema, buried deep in some forgotten archive, or is so new and now that cinephiles might not even be wise enough to pretend they've heard of it. Rest assured that Light Industry's weekly programming schedule will always be full of surprises.
Take a look at the programming set up by Thomas and Ed just this year: in February the duo screened L'anticoncept ("a sound film without images" from 1951 by the artist Gil J Wolman), and in March they hosted an exceedingly rare peek into the work of Edward Owens, an African-American filmmaker who got his started making films as a teenager in the 60s, eventually finding his way into Manhattan's Warhol/underground scene.
As obscure as their programming might be, it always remains approachable; plus, with weekly shows, and seemingly no two much alike, you can trust that Ed and Thomas are putting together something a variety of people can enjoy.
"What I love about what we do is that we play to the hardcore cinephiles—finding things like Edward Owens where people are like, Oh my god!—but then also playing to people who want to learn about cinema," Ed explained. "We're kind of like a little schoolhouse. You can really learn the breadth of cinema by following our programming."
"You can see a Laida Lertxundi film that was made last year or you can see a silent-era boxing film," Thomas added. "So there's this kind of historical sweep but also we like to be doing international and genre-spanning stuff."
Though they've received grants that have helped them blossom into a standalone institution, including one from the Andy Warhol Foundation, Light Industry is far from being a massive institution. They're not even close to cinematic powerhouses like Film Forum and Anthology; their space is a small and can fit an official maximum of 75 people. It's a bare-bones operation in a studio-like space flanked by DIY benches made of pine two-by-fours.
"As you can see there's a limit physically to this space," Ed glanced around.
Thomas added: "I have vivid memories of people riding their bike up, looking to this sign that says 'Sold Out' and then just opening up the door and kind of swanning in. It's so New York to be like, 'Oh it's sold out but obviously not for me."
"I would love it if every single show was like that," Thomas admitted.
But when I sat down with the two founders (and it's confirmed they're cinephiles; I even had them describe what cinephiles looked like, comparing their descriptions to their appearance and they perfectly matched), they explained how their small mission might not be ever be suited to becoming a big production.
BK Mag: So this space is super DIY…
Thomas: It's very DIY. We began with virtually no resources and when we started a friend of ours hooked us up with an unrented studio space in Industry City. Basically at that time she was overseeing the development of a number of studios in Industry City so a number of places that had been previously used for different kinds of literal light industry were being repurposed for studio spaces.
There was a large empty one and she made an arrangement between Industry City and us to have it gratis. And then we bought some folding chairs from some party rental place on Long Island, they were unloading them on the cheap, and we had some 16mm projectors and a video projector and his credit card, so that's how we began.
How did you get into this? Are you both filmmakers?
Ed: No, actually we'd both been working in programming at film festivals, that's how we met. Thomas had worked with CinemaTexas in Austin and I ran the New York Underground Film Festival for 10 years. We met when Thomas came to visit New York Underground. Several of the festivals of that era were very closely aligned with one another and we'd visit each other's festivals and so forth. Then I left New York Underground and Thomas left CinemaTexas. Then CinemaTexas ended.
Thomas: They were not related. It's not like I left and it blew up.
Ed: Well it was at this time when a lot of film festivals were changing or ending and we had moved to Brooklyn close to 2008. There was a retrospective at Orchard Street Gallery for the Collective for Living Cinema, a film exhibition group that was active in the 70s and 80s and into the early 90s. This was really inspiring for us to think about this group.
We were talking about how, well we should really do something like this in Brooklyn and do something now. Thomas also worked at Ocularis in Williamsburg that had a somewhat similar structure in some ways to Light Industry.
Thomas: We had weekly screenings, and it had been going for many years before I moved to New York and I was the last program director and it kind of wound down after a decade-long run. Then I finished graduate school and actually was looking for work after school and basically didn't get jobs at many great institutions. I didn't get a job at the Whitney, or the New Museum, or MoMA—the long list. But anyways, not getting a job out of grad school was also part of how Light Industry began.
I remember when I was in graduate school talking with a friend about having some collectively-run space. But it ended up just being the two of us. Thank god, because it's much more manageable to have two people run something than to have, you know, a giant unwieldy email chain between a dozen or more people. Not that there's anything wrong with a larger collective enterprise, but for our purposes having a small operation has worked well for us.
What's your backing like?
Thomas: The Warhol Foundation was huge game changer for us.
Ed: That was the first giant amount of money coming in and that really changed how we could do things.
Thomas: When we say "giant" it would be a drop in the bucket for a museum, but we got a check that covered all of Light Industry's expenses for the next two years. The way that Light Industry began, virtually with no resources, it made us realize the fact that in order to make something like this happen, you could do it with very little. So it's funny to us working at an institution where people say, "We'd like to do this, but it's just not possible." And it's like, hmm no it is possible.
You guys have such an interesting film line up; it's never anything I've ever heard of. It's always intriguing and always for different reasons. So how do you source these things? Do you come up with general themes?
Ed: The starting principle of Light Industry was really to see it as a crossroads between different communities that are about the moving image, the art of the moving image, cinema, but that historically, even in this city don't interact enough. You can look at the world of cinema, the fine art world, things that have a lot in common are actually much less socially connected than you might imagine.
I'm noticing now that's changing a lot. But when we started, they were very distinct worlds. But you could also think of the worlds of documentary, the academy, artists who work with the internet, these are all segmented populations, even in a city like New York. So one way we tend to think about our programming is this kind of cross-pollination. One day we might have a performance by Cory Arcangel and the next day week we have a film by Straub-Huillet. And so anyone that follows us, in a sense there's always going to be a bunch of stuff from a world they've never heard of.
Thomas: People might be first attracted to Light Industry's programming for one particular show and ideally be turned on to other kinds of work they might not have otherwise been familiar with.
Ed: And we do this by pairing with guests as well. One time Amy Sillman, a painter, presented this really obscure movie, but one that in Egyptian cinema is considered a classic film, and that was amazing. Again, it draws in a crowd who are interested in international cinema, a crowd of people who might know Amy and trust her taste. So there's a case right there where the crossroads are happening right in the show.
In terms of finding the material, a lot of it comes from reading. Thomas and I both have enormous libraries on cinema, we just dig through old magazines and current listings of things happening all over the world.
We've heard some crazy stories, like friends of our in India who do experimental cinema there. One of them was visiting us and she said she knows all of these cinephiles in India who get our emails and then try to torrent everything that we get. And so many times they'll hit something they can't even find on the most hardcore torrent site and they're like, "NO!"
But it's interesting for us that our audience isn't just who comes into this little room. We get feedback from people all around the world who read our announcements and feel like they're learning about cinema simply that way. And that was absolutely not our intention when we started this, but it's an interesting emergent property of the way we do things.
Thomas: It's nice, because obviously the event itself is the most important thing we do, but to know that our shows have a life beyond the event. And sometimes the program notes that Ed writes are the only thing on the internet about a filmmaker.
Ed: The case with Edward Owens, the moment we put out the announcement just immediately we get emails from five different places like where did you get this? Can I see this? There was just this intense interest. That happens with a lot of the shows, not all of them but particularly with Edward Owens.
Thomas: Well, Edward Owens is obscure even for us. But another thing that's important to us is that we wanted to take work that was really significant to us—in many cases it's obscure or difficult or experimental cinema and not presuppose there's an audience for this. Rather we feel that with the program notes we're making an argument for the work, why it has some urgent reason for being shown. And that's not always the case with cinema, with a mind of developing a new audience around it.
Ed: Because of our structure we have one show a week, on average. And that show only happens one time, so all the focus is on that single screening. It's a very, very focused selection. It's not like if we were Film Forum or Anthology where we are having five or six shows a day and then every day throughout the week. These are great places that have very, very full calendars. If you're not already a hardcore cinephile it can be daunting to open up one of those calendars and go, well what do I see?
What I love about what we do is that we play to the hardcore cinephiles—finding things like Edward Owens where people are like, Oh my god!—but then also playing to people who want to learn about cinema. We're kind of like a little schoolhouse. You can really learn the breadth of cinema by following our programming. Because we try to show the entire range of cinema in all its manifestations.
Thomas: Beyond the level of audience, it's also about making the work, different kinds of work and different kinds of ideas circulating around them accountable to one another or something. They have to be thought of alongside one another and I think that's also kind of rare. The discourse around international narrative cinema might not be paying attention to the discourses around fine art.
Ed: They don't come together and there's not much dialogue between those two worlds, especially between international narrative cinema and the art world. Narrative cinema is still outside the parameters of the art world even though it's certainly a highly advanced art form, but it doesn't somehow fit into the structure of the art world.
So are you guys challenging the canon?
Ed and Thomas: Absolutely!
Ed: But also we like to celebrate the canon too.
Thomas: My hope is that our program speaks to the fact that film history is always ripe for revision and renegotiation. A significant part of our program is about retrieving things that have been lost in someway or downplayed. Our particular emphasis on feminist and queer cinema is very much a part of that project.
Ed: And within feminist and queer cinema I feel like we are showing some of the things we think of as canonical, but the remainder of cinephiles might not. It is a kind of counter-canon, it's not the canon everyone runs to necessarily.
Thomas: I think film programming plays a part in building canons. Film history and art history are constantly being rewritten with every generation, so we very much feel responsibility to foreground works we feel are worth remembering and have enduring value.
Ed: The other thing about the cinema that's different from visual art, canonically you can get by with reproduction to see what an artist has done, what their work is like. It's the same thing with photography and with music, but with cinema even though we have VHS, DVD, and now online streaming– most of the works we're interested are either a) not available in that format or b) the experience is not going to really happen for you on your laptop. Watching a James Benning film on your laptop is not going to satisfy.
Thomas: That sounds pretty grim.
Ed: It sounds pretty awful. But there's a specificity to the event and cinema unfurls in that event and you can't really experience it and you can't really know it without it. That's why I think programming builds canons, because otherwise you can't really access the work and you can't get a sense of how other people are experiencing it.
Thomas: The old specters of racism, sexism, and homophobia haunt whatever you would unironically call "the canon." So when we say "canon" there's definitely a hint of irony to it.
Ed: And all of these dialogues have different canons. In terms of Olia Lialina, who we wanted to work with for a long time, there's no one more canonical in the world of net art than her, but for people who don't know that work she's as unknown as anybody. And a lot of people don't know she was connected to Cine Fantom, which was a kind of Light Industry in Moscow in the '90s.
Were there films you dug up that you never thought you'd find?
Ed: A good example is this film we showed Elizabeth and Mary by this director D.A. Pennebaker, this is a film that isn't listed in any Pennebaker filmography. He didn't even list it on his website, but I have this old book on cinéma vérité and there's this chapter on Elizabeth and Mary and I thought, whatever happened to this movie? I literally called Pennebaker's office and his son answer and he comes back and he's like, yeah it's right on the shelf next to me, you want to show it? But here was this amazing gem of first wave of cinéma vérité in the United States that is phenomenal. Pennebaker came here and introduced it, he gave a discussion afterward and he literally wept during the screening because it was so emotional for him to see the film again.
Thomas: There's a great agility that comes with having an operation so modest in its design. So that's something we really value, the ability to show whatever we want, in whatever context we want, whenever we want. It's a kind of autonomy that would be hard to find at an institution of any stripe.
Ed: I think we're a good argument for staying small. There isn't this normal progression with us. Our goal has always been to see how we can keep it going at this size and without doing something redundant in New York City. This city is amazing in terms of cinema because we have things no other city has in terms of programming, you can see an amazing film here every day.
Thomas: We're very wary of growth as a presupposed ideal. There was a time when Film Forum looked not unlike Light Industry. But that's not what we want.
Light Industry
underground film
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Ingenious! Students hunt for and correct errors in daily passages that cumulatively tell a story. Fix It! encourages students to immediately apply new grammar knowledge in context, aiding in the transfer of grammar skills into their own writing. Teacher's manual includes downloadable student pages.
Give your students our placement test to determine which book to start with.
This spiral-bound teacher's manual is accompanied by a downloadable student book. If you wish to purchase a spiral-bound student book, click here.
Because every book in Fix It! Grammar is foundational to the book after it, our recommendation is that all students begin with the first book: The Nose Tree. Each book includes advanced concepts, so even if your student knows much of the material, you can still begin with the first book and plan to move through it at a faster pace while adding the advanced concepts as he is ready for them. However, if you think your student has already mastered some of the concepts, use our placement test to determine where to start. Click here to download the placement test.
Home use: The purchaser may copy student-related materials from this Teacher's Manual for use by multiple children within his or her immediate family.
Small group or co-op classes: Each teacher is required to purchase his or her own Teacher's Manual. You may copy student-related materials from this Teacher's Manual for use within your own class.
Classroom teachers: Each teacher is required to purchase his or her own Teacher's Manual. You may copy student-related materials from this Teacher's Manual for use within your own class.
Home use: Each family is required to purchase their own Fix It! Grammar Teacher's Manual 2. The purchaser may print this accompanying Teacher's Resource e-book for use within his or her immediate family.
Small group or co-op classes: Each teacher is required to purchase his or her own Fix It! Grammar Teacher's Manual 2. The purchaser may print this accompanying Teacher's Resource e-book for use within his or her own class.
Classroom teachers: Each teacher is required to purchase his or her own Fix It! Grammar Teacher's Manual 2. The purchaser may print this accompanying Teacher's Resource e-book for use within his or her own class.
Library use: A library that owns the Fix It! Grammar Teacher's Manual 2 may print one copy of this accompanying Teacher's Resource e-book, which may be checked out by patrons provided they agree not to make copies.


text:
Q: How to disable opening of dropdown in select box in jQuery Mobile I am using Jquery Mobile for showing drop-down for select box.
<select id="category_type" multiple="multiple" class="category" tabindex="-1" placeholder="Category">
<option></option>
.
.
</select>

In some condition I need to restrict opening of the drop-down of select box when clicked.
I tried with
jQuery("#category_type").bind( "change", function(e) {
   jQuery.mobile.selectmenu.prototype.options.hidePlaceholderMenuItems = false;
   e.preventDefault();
});

But not effective.
How can it be possible?.
Thanks in advance

A: Note: Here is the working DEMO
HTML Part:
<div data-role="fieldcontain">
    <button id="disable_select">Disable</button>
    <select name="select-choice-1" id="select-choice-1">
        <option value="standard">Standard: 7 day</option>
        <option value="rush">Rush: 3 days</option>
        <option value="express">Express: next day</option>
        <option value="overnight">Overnight</option>
    </select>
</div>

JS Part:
$("#disable_select").click(function() {
    $("#select-choice-1").attr("disabled","disabled");
});

Right now I have added a button to disable the dropdown on click of that button, you can add your condition to disable it.

redpajama_set_name: RedPajamaStackExchange


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text:
Inoue wins tough fight against Donaire
VIA PRESS RELEASE
Naoya Inoue overcame the heroic Nonito Donaire to claim a points victory to win the Ali Trophy in the bantamweight edition of the World Boxing Super Series in Saitama, Japan.
The three judges scored the bout 116-111, 117-109, 114-113 in favour of Inoue.
And what a drama it was.
Four weight champion Donaire opened a cut above Inoue's right eye with a left hook in the second round. The Filipino-American was then in control until the fifth when Japanese Inoue landed a right hook to the jaw, stunning the legend and seizing momentum.
Inoue lands a big right hand on Donaire. Photo by Naoki Fukuda
But Inoue's 'Monster' reputation as one of the planet's most fearsome fighters was put in serious jeopardy in the ninth as Donaire rocked him with a sensational counter right, leaving his opponent reeling for the first time in his career.
In the closing rounds, Donaire took a knee after a body shot in the 11th, although he would bravely withstand to hear the final bell.
In respect of each other's epic performances, 26-year-old Inoue and 36-year-old Donaire embraced after their back-and-forth battle.
"Donaire was a very, very strong opponent," said Inoue, who also became the unified IBF and WBA bantamweight champion. "This is the first cut I have had in my career. I think Donaire is a true champion.
Donaire beats Inoue to the punch with his right hand. Photo by Naoki Fukuda
The Muhammad Ali Trophy was presented to Inoue by Japanese boxing legend Masahiko Harada better known as Fighting Harada, a former world champion in the flyweight and bantamweight divisions.
"Winning the Ali Trophy is the biggest thing so far in my career and I see a bright future in front of me. I am not the greatest of all time yet, but that is the goal."
"We've seen 'The Rumble in the Jungle', 'The Thriller in Manilla' and now we have seen the 'Drama in Saitama," said Kalle Sauerland, Chief Boxing Officer of the WBSS.
"It was incredible. Just when you think it can't get any better coming from the super-lightweight final with Prograis and Taylor at The O2 in London you fly over here … amazing fight week, 20,000 people at the Saitama Arena.
"This was the Fight of the Year. It was a very close fight. Hats off to Nonito Donaire and what can you say about Inoue, unbelievable. This fight for me, out of the live fights I've seen, is definitely the best I ever, ever seen. I've said it before, the World Boxing Super Series brings the best against the best. The boxing gods are smiling at us tonight."
The Boxing Source November 8, 2019 January 3, 2020 boxing, boxing news, Naoya Inoue, Nonito Donaire
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Home buying is changing. Sure mortgages and foreclosures will still be around, but what is changing is what people look for in a home. Some twenty years ago home buyers wanted homes with a good amount of bedrooms, bathrooms, a nice kitchen, a basement and/or an attic, a big yard for the kids to play in and a house near their workplace. While those things are still important, prospective homeowners are now changing their priorities on what they need in a house. Here are a few things that new home buyers are looking for in the 21st century.
With the price of homes still too high, incomes too low and bad credit everywhere, it's becoming harder and harder to own a home. That's why many Americans are choosing to live with their parents and even grandparents. Because of this, home buyers are looking for extra bedrooms. This can come in the form of basements and attics that are converted to living spaces.
Home buyers are also not placing as big of an importance on the distance from the home to their workplace. The reason for that is that many people work from home now. This means that home buyers aren't forced into buying a home within a 10 mile radius from their workplace.
The size of the yard is also something that is not as important as it once was. Technology has also changed what kids do for fun. Kids now play video games, watch movies or play on their tablet.
Now and in the future, home buyers will be looking for homes where high speed broadband is readily available. They will check cell phone reception to see how their phones work in the area.
The floor plan for new homes is also changing. A home office is no longer considered a luxury, but a necessity for new homes. Some home buyers are looking for two home offices. When they see bedrooms they'll also envision where they can have their beds, their tv and their computer.
Green-friendly homes are also hot right now and that trend will continue. These homes are the wave of the future, as they use less energy and are more environmentally friendly.
What kind of homes are you attracted to or looking into buying ?? leave a comment.


While supply chain transformation and modernization are commonly stated goals for companies of all kinds, those organizations may hesitate to put in the time and money necessary to enforce real change. This is natural, as it can be tough to envision the concrete effects of any true high-level change to corporate practices. Leaders outside of logistics may need to see a huge potential impact in terms of the bottom line before they give the go-ahead to change procurement, sourcing, transportation or other core functions.
According to a recent Janeiro Digital survey of management personnel, industry culture is a prominent roadblock keeping organizations from changing the way they handle their supply chains. This reluctance to embrace digital ways of operating has deep roots and takes several forms. Over 23 percent of respondents stated they haven't been given enough support to change their operations. The same number said they're being held back by existing legacy systems. More than 27 percent stated they'd been given a budget that couldn't get the job done.
When organizations are mired in old-fashioned technology, with leaders not seeing the potential for upgrades or failing to give the transformation process a fair share of the budget, change can seem far off. Supply chain professionals falling behind the modernization curve are likely looking for positive examples of the effects transformation can have when firms forge ahead with revisions. Fortunately, some brands have taken these steps, and their pioneering examples can be instructive.
Supply chain leaders are at a crossroads.
A recent Supply Chain Digital report exposed the many internal changes that have gone on since Sprint decided to digitize its logistics process. The telecom company decided to take a twofold approach to enforcing change. Part of the strategy will involve an efficiency focus, which is meant to ease the strain of getting new devices from the drawing board into consumers' hands. The other half of the approach is based on resilience. When the marketplace suffers a shake-up or other disruption, Sprint will theoretically be able to mount an effective response.
The first few years after setting these objectives have been positive. The company reported massive reductions in both operating expenses and existing inventory levels. Sprint has struck up a series of partnerships that allow its own operations to be relatively resource-light. Data has become more central to the decision-making process as well. With faster and more accurate data flowing in, the organization has made its consumer-facing logistics offerings more user-friendly and proactive. The result is a renewed focus on securing loyalty and enhancing the overall experience.
Often, the forces keeping companies from making their own supply chain operations more effective are artificial restrictions imposed on themselves. When leaders discover the ways in which businesses are becoming more digitally savvy - and turning that new focus into relatively quick bottom-line boosts - they may have less trouble giving logistics managers the money, support and strategic responsibility they need to create positive experiences. Depending on the organization's present status and future goals, the effects may be felt in a variety of different functional areas.
Can Procurement Hire Without a Resume?
What Does Top Procurement Talent Look For?
GDPR is coming: Are suppliers a data risk?


For almost as long as movies have been made, biblical epics have been among them. The latest follows the story of Mary Magdalene, Jesus Christ's wife, and it stars Academy Award nominee Rooney Mara in the titular role.
Mary Magdalene is directed by Garth Davis, the man who brought us the Oscar-nominated film Lion in 2016. Not only does it star Mara, but Joaquin Phoenix plays Jesus, and 12 Years a Slave's Chiwetel Ejiofor as Peter. The film itself is being pushed as "the untold story of Mary Magdalene," which in itself is saying a lot considering not much is known about her.
The official synopsis of the movies reads as follows. Set in the Holy Land in the first century C.E., a young woman leaves her small fishing village and traditional family behind to join a radical new social movement. At its head is a charismatic leader, Jesus of Nazareth, who promises that the world is changing. Mary is searching for a new way of living, and an authenticity that is denied her by the rigid hierarchies of the day. As the notoriety of the group spread and more are drawn to follow Jesus' inspirational message, Mary's spiritual journey places her at the heart of a story that will lead to the capital city of Jerusalem, where she must confront the reality of Jesus' destiny and her own place within it.
Mary Magdalene is scheduled to come out in March of 2018.


text:
N.D. air base fails nuclear inspection
PUBLISHED: May 31, 2008 at 11:01 p.m. | UPDATED: November 13, 2015 at 7:14 p.m.
WASHINGTON — The same Air Force unit at Minot Air Force Base in North Dakota that was responsible for mishandling six nuclear cruise missiles in August failed key parts of a nuclear safety inspection last month, according to a Defense Department report. The 5th Bomb Wing was given an "unacceptable" grade in security of nuclear weapons, according to the review by the Defense Threat Reduction Agency. In another category, management and administration, it received a grade of "marginal," based on deficiencies in recording changes that affected the operational status of nuclear cruise missiles and gravity bombs. Those are two areas where failures last summer allowed a B-52 at Minot to be loaded with six air-launched cruise missiles and flown to Barksdale Air Force Base in Louisiana without the pilots, air or ground crews knowing they contained nuclear warheads.


On Saturday, I saw Pandora's Promise -- the new film promoting nuclear power largely through interviews with environmentalists who have embraced it -- and I participated in a post-screening discussion with Michael Shellenberger of The Breakthrough Institute. Michael is one of the five converts featured in the movie. First, let me say that I'm no movie critic, but this is a very polished and professional film. Though I didn't agree with all of it, I was engaged throughout the movie.
On the subject matter, I was surprised at the very narrow bite of the nuclear power issue that the movie takes. It is basically a movie about nuclear power's past safety record and waste management.
On that score, it is fairly convincing. Nuclear power actually has an impressive safety history, particularly compared to fossil fuel extraction, processing and combustion. The movie revisits Three Mile Island, Chernobyl, and Fukushima in detail -- maybe a bit too much detail. The point that there was far less harm to humans than most people think is well worth making, as is the fact that the number of deaths from even Chernobyl is almost certainly smaller than the number of deaths caused by coal mining and burning every year.
But I couldn't help thinking that the focus on these three events misses the real issues.These were all about 40-year-old reactors, built to a standard that no one would consider using today. Chernobyl didn't even have a containment vessel. New nuclear plants are being built with much greater attention to prevention and containment. Looking at those accidents in a discussion of building new reactors is like looking at 1960s cars with no seatbelts (let alone airbags) to figure out the safety of driving today.
That said, the movie can't seem to stop itself from finding the flimsiest of straw men to attack in terms of past accidents. In this case, it's anti-nuclear activist Helen Caldicott, who is shown claiming that Chernobyl caused a million deaths, despite the fact that no serious research has indicated a figure above the low thousands. The film succeeds in making clear that there is a group of people who are anti-nuclear for reasons, and in ways, that are every bit as insular and anti-science as climate change deniers.
What left me less than completely persuaded on safety is the fact that there are far more thoughtful critics and reasoned concerns about nuclear power safety, including the issue of terrorists' access to plants and to fuels. This is particularly true if we are talking about building plants in countries with less stable governments, as the movie suggests we should. The movie says only a bit about nuclear proliferation among national governments and essentially nothing about terrorism. Those concerns also may not pass a close analysis either, but focusing on the most outlandish characters and extreme statements undermines the film's seriousness (though it probably makes it more engaging than a movie that reviews the academic research on nuclear safety. But if you are interested in that sort of thing, there are recent Energy Institute papers on efficiency improvements, safety, and the prognosis for nuclear power post-Fukushima).
My disappointment with the film is that beyond safety, it has little to say. There are two fleeting references to cost that suggest vaguely that nuclear is cost-competitive. It isn't. In the discussion after the movie, Michael Shellenberger agreed with me that nuclear power can't beat coal or natural gas today. The movie briefly beats up solar and wind for being intermittent, but that segment lasts probably less than a minute and there is no reference to storage possibilities or demand adjustment to address intermittency.
In the end, I came away realizing that I wasn't the movie's target audience. It is aimed at people who still want to oppose nuclear power based on the risk of a technical failure and massive meltdown. I'm not sure how many of those people there are, but like the converts in the movie, it would be useful for them to revisit the research on past events.
Nuclear power should not be eliminated as an option due its past safety record.
Nuclear power is currently still much more expensive than coal or gas.
Nuclear power should be one of the many technologies we need to keep researching to find some alternative that is low-carbon and can be cheap enough to be attractive to the developing world.
That list should also include solar, wind, geothermal, carbon sequestration and storage.
For a far more entertaining non-review of the movie (he hasn't seen it) and a thoughtful discussion of nuclear power issues, I recommend David Roberts' column on Grist.
Reprinted with permission from the Energy Economics Exchange. Professor Severin Borenstein is co-director of the Energy Institute at Haas, University of California, Berkeley's Haas School of Business and director of the UC Energy Institute.


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Spring Book Fair begins on 2/11! Shop & Volunteer!
Support your student's love of reading and our Media Center with a purchase from the Spring Book Fair. Running from Monday, February 11th - Friday, February 15th be sure to stop by or send in money with your student. They will be able to shop during specific class times or you can shop with them before and after school.


text:
#pragma once

#include <nvbio/basic/types.h>
#include <nvbio/basic/vector_view.h>
#include <nvbio/basic/packedstream.h>
#include <nvbio/basic/vector_loads.h>
#include <nvbio/strings/string_traits.h>
#include <nvbio/strings/string.h>
#include <string.h>

namespace nvbio {

///@addtogroup Strings
///@{

///\defgroup VectorizedStringLoadingModule Vectorized String Loading
///\par
/// The functions in this module define a vector loading API for strings:
/// strings, are usually made up of tiny characters, often a byte each, or
/// just a few bits.
/// Loading them byte by byte stresses the memory bus, and often results in
/// bad memory utilization.
/// Loading them in bigger chunks, when possible (e.g. when the string is
/// properly aligned), can be very favourable.
/// This API defines:
///
///\code
///  // the size of the vector which can be used to load many symbols at once
///  vectorized_string<string_type>::VECTOR_WIDTH;
///
///  // the range of the string which is amenable to vectorized loading
///  uint2 vectorized_string_range(const string_type& string);
///
///  // a function to retrieve a vector
///  void  vectorized_string_load(const string_type& string, const uint32 i, value_type* v);
///\endcode
///\par
/// The following example shows how the API could be used:
///
///\code
/// const char* string = "this is a long enough ASCII string - let's see if this stuff works...";
///
/// // determine the vectorization width
/// const uint32 VECW = vectorized_string<const char*>::VECTOR_WIDTH;
/// printf("w = %u\n", VECW);
///
/// // determine the vectorized string range
/// const uint2 vec_range = vectorized_string_range( string );
/// printf("range(%u,%u)\n", vec_range.x, vec_range.y);
///
/// // loop through the scalar range
/// for (uint32 i = 0; i < vec_range.x; ++i)
///     printf("%c", string[i]);
///
/// // loop through the vectorized range
/// for (uint32 i = vec_range.x; i < vec_range.y; i += VECW)
/// {
///     char v[VECW];
///
///     // load a vector
///     vectorized_string_load( string, i, v );
///
///     for (uint32 j = 0; j < VECW; ++j)
///         printf("%c", v[j]);
/// }
///
/// // loop through the scalar range
/// for (uint32 i = vec_range.y; i < length( string ); ++i)
///     printf("%c", string[i]);
/// printf("\n");
///\endcode
///

///@addtogroup VectorizedStringLoadingModule
///@{

/// \ref VectorizedStringLoadingModule interface
///
template <typename string_type>
struct vectorized_string
{
    typedef typename string_traits<string_type>::value_type value_type;

    static const uint32 VECTOR_WIDTH = 1u;  ///< the intrinsic vector width - this is somewhat arbitrarily defined, as for generic types we just manually load the blocks

    /// determine the vectorized range of a string with a specified vector width
    ///
    template <uint32 VECTOR_WIDTH_T>
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static uint2 range(const string_type& string)
    {
        const uint32 rounded_length = (uint32)util::round_z( length( string ), VECTOR_WIDTH_T );
        return make_uint2( 0, rounded_length );
    }

    /// load a vector with a specified vector width
    ///
    template <uint32 VECTOR_WIDTH_T>
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static void load(
        const string_type&  string,
        const uint32        offset,
        value_type*         vector)
    {
        // fill the vector with a simple loop
        #pragma unroll
        for (uint32 j = 0; j < VECTOR_WIDTH_T; ++j)
            vector[j] = string[offset + j];
    }

    /// determine the vectorized range of a string using the maximum vector width
    ///
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static uint2 range(const string_type& string)
    {
        return range<VECTOR_WIDTH>( string );
    }

    /// load a vector using the maximum vector width
    ///
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static void load(
        const string_type&  string,
        const uint32        offset,
        value_type*         vector)
    {
        load<VECTOR_WIDTH>( string, offset, vector );
    }
};

/// determine the vectorized range of a string using the maximum vector width
///
template <typename string_type>
NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
uint2 vectorized_string_range(const string_type& string)
{
    return vectorized_string<string_type>::range( string );
}

/// load a vector using the maximum vector width
///
template <typename string_type>
NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
void vectorized_string_load(const string_type& string, const uint32 i, typename string_traits<string_type>::value_type* vector)
{
    vectorized_string<string_type>::load( string, i, vector );
}

//
// --- const char* specialization------------------------------------------------------------------------
//

/// const char* specialization of the \ref VectorizedStringLoadingModule interface
///
template <>
struct vectorized_string<const char*>
{
    typedef const char*                    string_type;
    typedef char                           value_type;
    typedef uint64                         index_type;

    static const uint32 VECTOR_WIDTH = maximum_vector_width<char>::VALUE; ///< the intrinsic vector width

    /// determine the vectorized range of a string with a specified vector width
    ///
    template <uint32 VECTOR_WIDTH_T>
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static uint2 range(const char* string)
    {
        const uint64 offset = uint64( string ) % VECTOR_WIDTH_T;
        const uint64 len    = length( string );

        const uint64 aligned_begin = util::round_i( offset,                 VECTOR_WIDTH );
        const uint64 aligned_end   = util::round_z( offset + len, VECTOR_WIDTH );

        return aligned_begin < aligned_end ?
            make_uint2( aligned_begin - offset, aligned_end - offset ) :
            make_uint2( len, len );
    }

    /// load a vector with a specified vector width
    ///
    template <uint32 VECTOR_WIDTH_T>
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static void load(
        const char*  string,
        const uint32 offset,
        char*        vector)
    {
        const char* base_ptr = string + offset;
        vector_load<VECTOR_WIDTH_T>( base_ptr, vector );
    }

    /// determine the vectorized range of a string using the maximum vector width
    ///
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static uint2 range(const char* string)
    {
        return range<VECTOR_WIDTH>( string );
    }

    /// load a vector using the maximum vector width
    ///
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static void load(
        const char*  string,
        const uint32 offset,
        char*        vector)
    {
        load<VECTOR_WIDTH>( string, offset, vector );
    }
};

//
// --- vector_view<const T*> specialization------------------------------------------------------------------------
//

/// vector_view specialization of the \ref VectorizedStringLoadingModule interface
///
template <typename T, typename IndexType>
struct vectorized_string< vector_view<const T*,IndexType> >
{
    typedef vector_view<const T*,IndexType> string_type;
    typedef T                               value_type;
    typedef IndexType                       index_type;

    static const uint32 VECTOR_WIDTH = maximum_vector_width<T>::VALUE; ///< the intrinsic vector width

    /// determine the vectorized range of a string with a specified vector width
    ///
    template <uint32 VECTOR_WIDTH_T>
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static uint2 range(const string_type& string)
    {
        const uint64 offset = (uint64(string.base()) / sizeof(T)) % VECTOR_WIDTH_T;

        const uint64 aligned_begin = util::round_i( offset,                 VECTOR_WIDTH );
        const uint64 aligned_end   = util::round_z( offset + string.size(), VECTOR_WIDTH );

        return aligned_begin < aligned_end ?
            make_uint2( aligned_begin - offset, aligned_end - offset ) :
            make_uint2( string.size(), string.size() );
    }

    /// load a vector with a specified vector width
    ///
    template <uint32 VECTOR_WIDTH_T>
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static void load(
        const string_type& string,
        const uint32 offset,
        T*           vector)
    {
        const T* base_ptr = string.base() + offset;
        vector_load<VECTOR_WIDTH_T>( base_ptr, vector );
    }

    /// determine the vectorized range of a string using the maximum vector width
    ///
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static uint2 range(const string_type& string)
    {
        return range<VECTOR_WIDTH>( string );
    }

    /// load a vector using the maximum vector width
    ///
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static void load(
        const string_type& string,
        const uint32 offset,
        T*           vector)
    {
        load<VECTOR_WIDTH>( string, offset, vector );
    }
};

//
// --- vector_view< PackedStream > specialization---------------------------------------------------------------------
//

/// PackedStream specialization of the \ref VectorizedStringLoadingModule interface
///
template <typename InputStream, typename Symbol, uint32 SYMBOL_SIZE_T, bool BIG_ENDIAN_T, typename IndexType>
struct vectorized_string< vector_view< PackedStream<InputStream,Symbol,SYMBOL_SIZE_T,BIG_ENDIAN_T,IndexType> > >
{
    typedef vector_view< PackedStream<InputStream,Symbol,SYMBOL_SIZE_T,BIG_ENDIAN_T,IndexType> >            string_type;
    typedef Symbol                                                                                value_type;
    typedef IndexType                                                                                index_type;
    typedef PackedStream<InputStream,Symbol,SYMBOL_SIZE_T,BIG_ENDIAN_T,IndexType>                           packed_stream_type;
    typedef InputStream                                                                                storage_iterator;
    typedef typename packed_stream_type::storage_type                                                       storage_type;

    static const uint32 SYMBOL_SIZE  = SYMBOL_SIZE_T;
    static const uint32 SYMBOL_COUNT = 1u << SYMBOL_SIZE_T;
    static const uint32 VECTOR_WIDTH = packed_stream_type::VECTOR_WIDTH; ///< the intrinsic vector width

    /// determine the vectorized range of a string using the intrinsic vector width
    ///
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static uint2 range(const string_type& string)
    {
        const index_type offset = string.base().index();

        const index_type aligned_begin = util::round_i( offset,                 VECTOR_WIDTH );
        const index_type aligned_end   = util::round_z( offset + string.size(), VECTOR_WIDTH );

        return aligned_begin < aligned_end ?
            make_uint2( aligned_begin - offset, aligned_end - offset ) :
            make_uint2( string.size(), string.size() );
    }

    /// load a vector with the intrinsic vector width
    ///
    NVBIO_FORCEINLINE NVBIO_HOST_DEVICE
    static void load(
        const string_type&  string,
        const uint32        offset,
        value_type*         vector)
    {
        const storage_iterator storage = string.base().stream();

        // find the proper word containing the vector we are after
        const index_type word_idx = (string.base().index() + offset) / VECTOR_WIDTH;

        const storage_type word = storage[ word_idx ];

        // unpack the entire word
        if (BIG_ENDIAN_T)
        {
            const uint32 SYMBOL_OFFSET = (VECTOR_WIDTH-1) * SYMBOL_SIZE;

            #pragma unroll
            for (uint32 j = 0; j < VECTOR_WIDTH; ++j)
                vector[j] = (word >> (SYMBOL_OFFSET - SYMBOL_SIZE * j)) & (SYMBOL_COUNT-1);
        }
        else
        {
            #pragma unroll
            for (uint32 j = 0; j < VECTOR_WIDTH; ++j)
                vector[j] = (word >> (SYMBOL_SIZE * j)) & (SYMBOL_COUNT-1);
        }
    }
};

///@} VectorizedStringLoadingModule
///@} Strings

} // namespace nvbio

redpajama_set_name: RedPajamaGithub


text:
Eight Inhibitory Monoclonal Antibodies Define the Role of Individual P-450s in Human Liver Microsomal Diazepam, 7-Ethoxycoumarin, and Imipramine Metabolism
Tian J. Yang, Kristopher W. Krausz, Yang Sai, Frank J. Gonzalez and Harry V. Gelboin
Drug Metabolism and Disposition January 1999, 27 (1) 102-109;
Tian J. Yang
Kristopher W. Krausz
Yang Sai
Frank J. Gonzalez
Harry V. Gelboin
Eight inhibitory monoclonal antibodies (MAbs) individually specific to human cytochrome P-450 (P-450) 1A1, 1A2, 2A6, 2B6, 2C subfamily (2C8, 2C9, 2C18 and 2C19), 2D6, 2E1, and 3A4/5 were used to define the role of single P-450s in the metabolism of diazepam (DZ), 7-ethoxycoumarin (7-EC), and imipramine (IMI) in human liver microsomes (HLM). The MAbs were added combinatorially to six HLM samples. With DZ as a substrate, more than 80% of temazepam (TMZ) formation was inhibited in all six samples by the addition of MAb to 3A4/5, indicating an 80% contribution of 3A4/5 to TMZ formation. Nordiazepam formation was inhibited with MAbs to 2B6 (6–23%), 2C subfamily (12–61%) and 3A4/5 (14–45%). The MAbs to 1A1, 1A2, 2A6, 2D6, and 2E1 did not inhibit TMZ or nordiazepam formation; this indicates their noninvolvement in DZ metabolism. The MAb-defined P-450 contribution to 7-EC Odeethylation in six HLM samples was 17 to 60% for 2E1, 15 to 46% for 2A6, and 5 to 22% for 1A2, reflecting the role and variation of each P-450 in this activity. MAbs to 1A1, the 2C subfamily, 2D6, and 3A4/5 did not affect 7-EC metabolism in the HLM samples. IMI is metabolized mainly to 2-hydroxyimipramine by expressed 2C19 and 2D6, and desipramine (DIM) by expressed 1A2, 2C18, 2C19 and 2D6. Expressed 1A1, 2C9, and 3A4 showed low activities for the formation of DIM. Of six HLM samples, five showed IMI hydroxylation activity (0.35–2.6 nmol/min/nmol P-450) while one (HL43) lacked hydroxylation activity. All six HLM samples showedNdeethylation activity (0.74–1.4 nmol/min/nmol P-450). The MAb-determined contribution of 2D6 and 2C19 to 2-hydroxyimipramine formation ranged from 47 to 90% and from 0 to 49%, respectively, while HL43 did not show 2-hydroxylation. The role of P-450s involved in DIM formation varied for 2C19 (13–50%), 1A2 (23–41%), and 3A4 (8–26%). These studies demonstrate a system for identifying the quantitative metabolic role of single P-450s and their interindividual variability in a tissue containing multiple P-450s. The system using inhibitory MAbs is simple, precise, and applicable to any P-450-mediated catalytic activity including that for drugs, carcinogens, mutagens, toxic chemicals and endobiotics.
Send reprint requests to: Dr. H. V. Gelboin, Bldg. 37, Rm 3E24, National Institutes of Health, 9000 Rockville Pike, Bethesda, MD 20892.
↵1 Abbreviations used are: MAb, monoclonal antibody; P-450, cytochrome P-450; DZ, diazepam; 7-EC, 7-ethoxycoumarin; IMI, imipramine; HLM, human liver microsome; DIM, desipramine; TMZ, temazepam; NDZ, nordiazepam; 2-OH IMI, 2-hydroxyimipramine; HPLC, high-performance liquid chromatography; IB, immunoblot.
Received April 7, 1998.
Accepted August 27, 1998.
You are going to email the following Eight Inhibitory Monoclonal Antibodies Define the Role of Individual P-450s in Human Liver Microsomal Diazepam, 7-Ethoxycoumarin, and Imipramine Metabolism
Drug Metabolism and Disposition January 1, 1999, 27 (1) 102-109;


text:
Die vom WDR gegründete Cappella Coloniensis ist ein seit 1954 bestehendes Orchester, das Kompositionen im Sinne der historischen Aufführungspraxis zu Gehör bringt. Der Schwerpunkt liegt dabei auf der Musik der Barockzeit, aber auch Werke der Klassik und der Romantik werden eingespielt.

Geschichte
In den 1960er und 1970er Jahren unternahm das Orchester Konzerttourneen in die UdSSR, in den Nahen und Fernen Osten, nach Nord- und Südamerika sowie innerhalb Europas.

Anfang der 1980er Jahre wurden unter Leitung von Gabriele Ferro und unter Mitwirkung von Sängern wie Fiorenza Cossotto und Francisco Araiza erste Aufnahmen romantischer Opernliteratur von Gioachino Rossini gemacht.

Das Orchester wurde u. a. von den Dirigenten Ulf Björlin, Wilfried Boettcher, William Christie, Marcel Couraud, Daniel Chorzempa, Gabriele Ferro, Georg Fischer (auch György Fischer), John Eliot Gardiner, Reinhard Goebel, Günter Kehr, Eigel Kruttge, Sigiswald Kuijken, Ferdinand Leitner, Hans-Martin Linde, Rolf Reinhardt, Joshua Rifkin, Paul Sacher, Michael Schneider, Hanns-Martin Schneidt, Andreas Spering, August Wenzinger und Günther Wich geleitet.

Unter Bruno Weil, der seit 1997 häufig das Orchester dirigiert und inzwischen zum Künstlerischen Leiter gewählt wurde, wurde die Cappella zweimal mit dem Echo-Klassik-Preis der Deutschen Schallplattenindustrie ausgezeichnet.

Es entstanden mit Bruno Weil außerdem CD-Aufnahmen der Weber-Opern Der Freischütz und Abu Hassan sowie der Oper Endimione von Johann Christian Bach.  Im Juni 2004 wurde die CD einer konzertanten Aufführung der Erstfassung des Fliegenden Holländers von Richard Wagner in der Philharmonie Essen veröffentlicht.

2004 gab der WDR die Trägerschaft der Cappella Coloniensis auf. Seitdem steht das Orchester auf eigenen Beinen.

Diskografie (Auswahl)

 Aufnahmen der Cappella Coloniensis bis 2004 – Verzeichnis, zusammengestellt von Friedrich Schneider (Bonn, 29. Mai 2014)

Weblinks

Homepage der Cappella Coloniensis (Web Archive)
Arnold Music - Cappella Coloniensis
Allmusic Diskographie
Discogs Diskographie

Orchester (Köln)
Ensemble (Historische Aufführungspraxis)
Echo-Klassik-Preisträger
Gegründet 1954

redpajama_set_name: RedPajamaWikipedia


text:
From Sidon to Sefarad
The Port of the World
Inquisition and Conversos
The Jewish Quarter of Seville
Real Alcazar of Seville
From Great Mosque to Templo Mayor of the Americas: The Cathedral of Seville
The Cordoba of Maimonides
Medinat Azahara
The Medina of Cordoba
The Alhambra and its Palaces
The Albaicín
Bar/Bat Mitzvah Tours
Judaism and Wine
Al-Andalus and wine
Hasday Ibn Shaprut: the Prince of the Jews of Al-Andalus
Hasday Ibn Saprut was the closest thing to a man of the Renaissance in the Middle Ages. Someone…
A Renaissance man in the Middle Ages
(Text translated from Spanish. We apologize for the possible grammatical errors)
Jewish doctor, translator and political figure in the caliphal court, prince of the Jews of Al-Andalus, this Jew born in Jaén in the year 915, was the great impetus of the golden age of Hebrew letters in Arab Spain, thus as a powerful statesman, protagonist in some of the most important diplomatic negotiations of the caliphal court with Constantinople and with the Christian kingdoms of the North of the Iberian Peninsula
After becoming a court physician to the mighty Umayyad caliph Abd al-Raḥmān III, Ḥasday gradually gained fame throughout the Arab world, acting de facto as vizier of the great caliph. He used his linguistic talents (he knew Hebrew, Arabic, and Latin) and his persuasive personality on delicate diplomatic missions between Muslim and Christian rulers. On one occasion he helped negotiate a treaty with the Byzantine Empire. At one of the embassies sent to Cordoba by the Emperor of Byzantium came a great gift that would change the history of medicine in Europe: the pharmacology treatise of the Greek physician Dioscorides. Hasday was one of those responsible for its translation into Arabic. This work would later be translated into Latin and would become one of the most important pharmacological treatises in the West until well into the eighteenth century. Hasday was also of enormous importance to get the signing of peace treaties with the kingdoms of Navarra and León. After Abd al-Raḥmān died in 961, Ḥasday continued to provide important services for his son and successor, the Caliph al-Ḥakam II.
Hasday was the great forerunner of the golden age of Spanish Judaism, bringing together under his patronage important literary figures such as Dunash ben Labrat (c. 920 – c. 990) and Menahem ben Saruq (c. 910 – c. 970), who helped to establish Hebrew as a scientific and literary language as well as to create a new style of Hebrew poetry. Hasday encouraged the study of Jewish law and the Talmud; he helped found the great Talmudic schools of Córdoba and Lucena by making the Spanish Jewry compete in relevance with the great Talmudic schools of Babylon.
Hasday Ibn Shaprut's correspondence (written by Menahem ben Saruq) with Joseph, king of the Khazars is of historical importance. The Khazars were a people who lived in southern Russia, and who apparently had converted to Judaism in the middle of the 8th century. Hasday's correspondence with the Khazars is highly relevant in providing information about a people that remains largely a puzzle to Jewish historians.
Hasday Ibn Saprut was a Renaissance man in the Middle Ages. Someone who made his knowledge, influence and fortune available to Andalusian society and the Jewish community in Sepharad, and who undoubtedly contributed both to the splendor of the Umayyad caliphate and to the golden age of Judaism in Sepharad.
One of the most beautiful streets in the Jewish quarter of Córdoba has his name. Córdoba has one of the best preserved medieval Jewish quarters. Strolling through its streets is a walk through one of the most fascinating episodes in the history of Andalusia.
https://www.almadeandalucia.com
https://www.turismodecordoba.org/
info@almadeandalucia.com


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Boost your endurance with the use of dangerous sugars!
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text:
Petre Poalelungi (ur. 23 sierpnia 1941) – rumuński zapaśnik walczący w stylu wolnym. Olimpijczyk z Monachium 1972, gdzie odpadł w eliminacjach w kategorii do 68 kg.

Wicemistrz Europy w 1972; piąty w 1966 roku.

Przypisy

Rumuńscy olimpijczycy
Rumuńscy zapaśnicy
Uczestnicy Letnich Igrzysk Olimpijskich 1972
Urodzeni w 1941


text:
The Unfiltered Lens
unbiased approach to the news that matters
Our Kind of Lens
Samsung explores the idea of 'folding phone' with folding screen
Samsung explores the market feasibility of a foldable smartphone that resembles the feature phones of the past, the company announced Tuesday at its developer conference.
What the smartphone will be called and when it will be on the market, was not disclosed, Reuters said. The phone appears to have a normal smartphone format and, according to Samsung CEO Sally Hyesoon Jeong, "fits easily in your pocket". The smartphone would be "more compact". In the video, a telephone is first folded open and closed in width and then closed as an old-fashioned folding telephone.
The release of the Galaxy Fold, Samsung's first attempt at a folding smartphone, was postponed this year because the screen was so delicate that it broke easily.
The Fold is not being released for the time being, but it did appear in September in France, Germany and the United Kingdom.
Boeing discovers another software error in 737 MAX
Second death by enigmatic new virus reported in China
2019 is the second warmest year ever recorded
Russian parliament voted for Mishustin appointment as prime minister
Iran arrests person who leaked the video of taking down plane
Paper Print 2002-2017
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