As I mentioned in last year's review of El Rodeo, there's a certain challenge in finding good Mexican places in Northern New England. We don't get a lot of Mexican (or even Latin American) people moving north of Boston, and when they do, the local tastes up here tend to cause them to water them down the spicing level and amp up the queso factor a bit. So when I'm traveling around and see a Mexican place I haven't tried yet, I'm usually skeptical, but when I spotted El Colima in Nashua, it looked like it had a fair bit of promise. Nashua is actually generally a pretty good town for restaurants, and several places gave the place good marks, so I figured it was worth stopping in.
El Colima is a cozy little place, although it's obviously expanded over its history from a small, single storefront to two, breaking the place up nicely into a cozy dining area, and a larger, more open bar area. Like a lot of non-takeout Mexican places, cocktails are one of the mainstays of the menu, and they've got a very good selection of margaritas, margarita variants, and even some good non-alcoholic drinks (indeed, it warms my heart when I see a good jamaica or a horchata on a menu!). I was soon sitting back and relaxing with a bowl of chips, some very pleasantly-executed house-made fresh salsa, and one of their Level 3 margaritas made with El Jimador Reposado (they've got a very granular set of margaritas on the menu, from the simple house margarita, increasing by levels up to the Level 9). I often find that higher-shelf tequila is wasted on margaritas, but not in this case, this was a carefully composed margarita with fresh lime.
For my dinner, after looking over many of the options, and being tempted by more than a few of the seafood dishes such as the camarones sarandeados (grilled shrimp in guajillo sauce, which looked splendid at the next table), I ended up going for a fairly simple dish: their steak enchiladas, served up with beans and rice in a traditional mole sauce. I have a weakness for good moles (ahh, I'm now reminded of how much I adore The Red Iguana in SLC), and the version at El Colima did not disappoint: a rich, chocolate heavy and earthy, but distinctly not sweet, mole sauce, this was the perfect covering sauce for a trio of nicely tender bits of steak and cheese wrapped up in some obviously house-made fresh tortillas. I don't often crave enchiladas, but these were perfection.
So, I'm quite happy that I set aside my normal skepticism about New England Mexican places and decided to try out El Colima. They are definitely working into my rotation when I find myself in Nashua again.
Okay, I admit, I'm close to running out of breakfast places to review, so I decided to start reviewing some lunch spots on days when I haven't brought a lunch from home. However, I'm trying to focus on the more unique places, the out-of-the way spots, the locally-owned businesses, the hidden gems, and the good deals. And, most importantly, the places that are close enough to my office and fast enough that I can grab lunch, bring it back to my office in Etna, and eat it at a reasonable pace all within about 45 minutes or so. Today, it was Jake's Market and Deli on Mechanic Street (a.k.a. the Mobil Station). What brings me to this particular gas station on a Tuesday at lunchtime? Chicken.


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package com.crosstreelabs.jaxrs.api.versioned.providers;

import com.crosstreelabs.jaxrs.api.versioned.ValueObject;
import com.crosstreelabs.jaxrs.api.versioned.ValueObjectRegistry;
import com.crosstreelabs.jaxrs.api.versioned.annotation.Version;
import com.crosstreelabs.jaxrs.api.versioned.mapper.Mapper;
import java.io.IOException;
import java.io.OutputStream;
import java.lang.annotation.Annotation;
import java.lang.reflect.InvocationTargetException;
import java.lang.reflect.Method;
import java.lang.reflect.Type;
import javax.ws.rs.NotSupportedException;
import javax.ws.rs.WebApplicationException;
import javax.ws.rs.core.MediaType;
import javax.ws.rs.core.MultivaluedMap;
import javax.ws.rs.ext.MessageBodyWriter;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

public class ModelMessageBodyProvider implements MessageBodyWriter<Object> {
    private static final Logger LOGGER = LoggerFactory.getLogger(ModelMessageBodyProvider.class);
    private final Mapper mapper;

    public ModelMessageBodyProvider(final Mapper mapper) {
        this.mapper = mapper;
    }

    @Override
    public boolean isWriteable(final Class<?> type,
            final Type genericType,
            final Annotation[] annotations,
            final MediaType mediaType) {
        Class<? extends ValueObject> vo = ValueObjectRegistry.findForMediaType(mediaType);
        if (vo == null) {
            throw new NotSupportedException();
        }
        if (!valueObjectHasModel(vo, type)) {
            return false;
        }
        for (String str : mapper.supportedStructures()) {
            if (mediaType.getSubtype().endsWith("+"+str)) {
                return true;
            }
        }
        return false;
    }

    @Override
    public long getSize(final Object t,
            final Class<?> type,
            final Type genericType,
            final Annotation[] annotations,
            final MediaType mediaType) {
        return -1;
    }

    @Override
    public void writeTo(final Object t,
            final Class<?> type,
            final Type genericType,
            final Annotation[] annotations,
            final MediaType mediaType,
            final MultivaluedMap<String, Object> httpHeaders,
            final OutputStream entityStream)
            throws IOException, WebApplicationException {
        Class<? extends ValueObject> vo = ValueObjectRegistry.findForMediaType(mediaType);

        // See if the value object knows how to consume the model
        try {
            Method method = vo.getDeclaredMethod("consume", t.getClass());
            ValueObject o = vo.newInstance();
            method.invoke(o, t);
            entityStream.write(mapper.asBytes(o));
            return;
        } catch (IllegalAccessException | IllegalArgumentException
                | InstantiationException | InvocationTargetException
                | NoSuchMethodException | SecurityException ex) {
            LOGGER.warn(ex.getClass().getName()+": "+ex.getMessage());
            LOGGER.debug("", ex);
        }

        // Otherwise, we'll try to map it
        try {
            entityStream.write(mapper.asBytes(mapper.convertValue(t, vo)));
        } catch (Exception ex) {
            LOGGER.warn(ex.getClass().getName()+": "+ex.getMessage());
            LOGGER.debug("", ex);
            throw ex;
        }
    }

    protected boolean valueObjectHasModel(final Class<? extends ValueObject> vo,
            final Class<?> model) {
        Version version = vo.getAnnotation(Version.class);
        for (Class<?> known : version.models()) {
            if (known.equals(model)) {
                return true;
            }
        }
        return false;
    }

}

redpajama_set_name: RedPajamaGithub


Sonoya Mizuno wears many hats – as a model, dancer, actress. Right from childhood, she has always wanted to be a performer, someone people can look up to and admire. Mizuno has come a long way in the entertainment industry and she is nothing short of incredible, having shown mastery in her mixed career that covers dancing, acting, and modelling. As a model, she has worked for several mega brands in the States. The Japanese-British has also participated in the production of dance projects, including in films and dance theatres. Her acting resume is quite impressive, having had some lead and supporting roles in high-profile films and TV series.
Sonoya Mizuno's parents gave birth to her in Tokyo, Japan, on 1st July 1986. Not long after her birth, her family relocated to England, precisely in Somerset, where she was raised. She is of mixed ethnicity with Japanese and English ancestry. Mizuno, whose mixed career has been quite rewarding, started out as a ballet dancer. This after she passed out from the Royal Ballet School. Upon graduating, she began dancing with ballet companies such as Scottish Ballet, Ballet Ireland, New English Ballet Theatre, and Semperoper Ballet in Dresden.
Sonoya launched her modelling career at the age of 20. She did her first job in Profile Models in London after which she went ahead to work with high-profile brands like Louis Vuitton, Alexander McQueen, Chanel, and Saint Laurent. 2015 was the year Mizuno made her debut on-screen appearance. Her first film role was as a forest guard in the Japanese fantasy drama Venus in Eros after which she began scoring more acting gigs. Some of the projects she has participated in include Ex Machina, (a science-fiction thriller directed by English director, novelist, film producer, and screenwriter Alex Garland), La La Land (as Emma Stone's choreographer roommate), Annihilation (as a mysterious alien entity), the 2017 musical romantic fantasy film Beauty and the Beast (as the debutante), and others.
Sonoya Mizuno had a whirlwind year in 2018 when she bagged substantial roles in a slew of hit films and television series such as All About Nina, The Domestics, Maniac, Crazy Rich Asians (opposite Michelle Yeoh and Constance Wu), which many consider one of her biggest projects in the movie industry. Currently, the multi-hyphenate is filming an American drama TV miniseries, Devs.
Besides acting and modelling, Mizuno has had roles in some music videos and dance theatres. In 2014, she was featured in award-winning choreographer/director Arthur Pita's dance theatre event – The World's Greatest Show, at the Royal Opera House and Greenwich Dance. In 2016, Sonoya also appeared as the featured dancer in The Chemical Brothers' (ft. Beck) music video, Wide Open. In the same year, precisely in August, the ballerina featured in Frank Ocean's music video for the song Nikes, putting up a brilliant performance.
Mizuno was born to an art director father called Hajime Mizuno. She is yet to disclose the name of her mother publicly but we can establish that he is half-English, half-Argentinian while Hajime is Japanese. The two reportedly met in the 1970s in Japan, where they were posted as diplomats. Further information about the actress's parents and family background is not available at the time of writing this report. However, she has a close-knit relationship with all her parents and five siblings.
Mizuno, however, has an uncle who doubles as a renowned British stage actor. His name is Edward Duke. He is popularly known for his solo show Jeeves Takes Charge, which is based on P. G. Wodehouse's writing. Duke rose to immense popularity after he emerged the winner of the Laurence Olivier Award for Best Newcomer in a Play in 1980.
Is She Dating, Who's Her Boyfriend?
Ever since Sonoya Mizuno transitioned from classically-trained professional ballerina to a working actress, things have continued to fall in pleasant lines for her. She boasts a large following both in real life and on her social media pages, however, she lives a low-key life and hasn't revealed details of her personal life. Right now, she is not in an open relationship, as it appears she is yet to find her perfect match.
The actress, whose professional career has earned a net worth of $1 million, stands at a height of 5 feet 7 inches, which is proportional to 1.7 in metric units. Her attractive looks and dashing personality are complemented by a body weight of 56 kilograms and body measurements recorded to be 32 inches (breast), 26 inches (waist), 34 inches (hip).


Master 1 is accessible to students with bachelor degree or equivalent (Bac +3 in the French system). Master 2 is accessible to students holding a 1st year master degree or equivalent (Bac +4 in the French system). Students with different backgrounds can apply. If in doubt, send us an email including your CV.
What are the tuition fees of the master program?
Once the admission in the master is agreed, you have to register at French University (243€ per year). Different tarifs might be applied to foreign students; for more information, check the Campus France website.
Which are the language requirements to attend the program?
The master is led in English. All our students should be able to understand and express themselves in English. We assess your English level during our interview (live or Skype) if you pass the first selection. French is not needed for the Master but some of our students decide to learn French anyway. French is not needed to live in Paris, but elementary knowledge can make your transition to France smoother.
Which university delivers the master diploma? Also how many ECTS points do you offer?
When filling the application form, we will ask you to upload all the files (including reference letters) as pdf. You will need to upload: an updated CV, two recommendation letters, a copy of your last diploma (translated in English or French), a copy of your latest grade transcript (translated in English or French), and a recent photo. Personal details, motivation statement, and a list of questions to precise your application are included in the application form.
What do students become after graduation?
Most of our students (>80%) follow a PhD program either in France or in the top foreign Universities (Rockfeller, Harvard, etc.). Others work in the industry or start medical school.
How much does it cost to live in Paris (as a student)?
Living in Paris can be very expensive. Roughly, a student living style will require around 1000 euros a month. Note that even a part time job would clash with the commitments to the master, whose courses are mandatory and full time. We will ask you to demonstrate your funding support. Do not hesitate to apply for national, european or world fellowship and to contact us if you require help or early interviews.
Are there any fellowships available?
We have a very limited number of fellowships for the M1 and M2 applicants. The fellowships are awarded to interviewed candidates that request fellowships, based on their financial ressources, academic excellence and motivation.
Is this Program eligible to the Eiffel scholarship?
Unfortunately, the master is not eligible to the such a fellowhip. Indeed, the eligible fields of study at a Master level are only Engineering Sciences, Economics & Management and Law & Political Sciences.
What is the background of the AIRE - Life Sciences Master students?
Since the Master is highly interdisciplinary, students with various backgrounds in exact sciences (biology, physics, medicine, mathematics, chemistry, computing, etc.) are eligible to apply. Students in social science, arts and humanities can also apply but should motivate in their application the reasons they want to follow a life science programs.
What is the background of the AIRE- Learning Science track Master students?
We accept students from different backgrounds, such as biologists, medical students, doctors, psychologists, web developers, students in history or political science or people from educational sciences. What gathers together our students is a genuine interest for pedagogy, education change and technology through the inputs of an interdisciplinary approach. If no specific need in programming is required, your interest in technology and in justifying tools and resources linked to educational issues is definitely a plus.
How can I find my internship?
Our academic program benefits from a large network of labs and partners in the business and start-up ecosystem in Paris and abroad. Here you'll find an exhaustive list of labs for the Life Sciences track and here the on the run network for the Learning Science track.
What do the AIRE students become after graduation?
After the Life Science track, most of our students (~70%) follow a PhD program either in France or abroad; others work in the industry. About 75% of our students find employment within the first 3 months after the end of their Master. After graduating from the EdTech track, you can work as an education designer, an editorial manager or a project manager for universities, start-ups and NGOs, start you own business as a consultant and an entrepreneur, or start an PHD in a doctoral school! Also, for some of you having already a full professional background, training in our program can be a step aside of your professional routine and a way to redesign both your hard and soft skills. This is the case for doctors who come to imagine a serious game, designers who want to have a long time of experimentation in the fields of digital techniques and user centric approach, or creators, teachers and entrepreneurs who are willing to fund their project with a research based inquiry.
Can I be interested in all 3 tracks of the AIRE Master Program?
Of course, we totally support and follow students willing to make the most of courses provided by each tracks, as long as they hold the 60 ECTS required to validate the year. According to your background and training plan, this issue can be discussed during the recruitment interview. The AIRE Master is a program designed for each participant to take the most of an interdisciplinary approach targeting scientific, pedagogical and digital challenges, and we are here to help you design your relevant path through it!


text:
Brand new Grand Am Evora to make public debut at Festival
News Old
The latest and most extreme racing variant of the Evora will make its public debut at the Lotus Festival this August, just weeks after its unveiling.
The Lotus Evora GX has been built to meet the requirements of North America's GRAND-AM Rolex Sports Car Series. Like the GTC version, carbon-fibre doors, roof and engine cover have replaced the SMC and RTM composite panels of the previous evolution GT4 Enduro, and Plexiglass replaces the polycarbonate windows in order to trim yet more weight off what is already a very light car. At 1,150kg, it tips the scales at just 10kg over the weight of the GTC model, despite being fitted with the much thicker US-spec roll cage.
Aerodynamically the GX features a new front splitter and front bumper, plus the standard Rolex Series rear wing which, along with the car's wide wheels and flared arches, give it very mean stance.
To meet other series requirements, ABS and traction control have been removed, putting more emphasis on driver skill. There's also a new fuel filler system, Continental tyres, and yellow headlamps in order to tick all the race series specific boxes. The 4-litre V6 continues to pump out 440bhp and 440Nm of torque, linked to an XTRAC six-speed sequential paddle-shift.
Later this year the Evora will race under the Rolex Series' GT rule, ahead of the GX rules, which will be introduced in 2013. The $335,000 car has already been ordered by McMahon Raceworks with Condor Motorsport and more are expected to be entered in the coming months.
You can see what other Lotus Motorsport cars will be at the Festival HERE.

redpajama_set_name: RedPajamaCommonCrawl


text:
Tomorrow Seemed Impossible
Self-help - Memoirs
Date Published: 10-25-2022
Publisher: Rope Swing Publishing
From childhood well into her adult life, Keeley Brooks struggled quietly with trauma and the very dangerous effects it took on her physical, mental, and emotional health. In her late teens, Keeley was diagnosed with four mental health challenges and an eating disorder after suffering extreme panic and anxiety at a young age.
Struggling with crippling feelings of isolation, unworthiness, desperation, and fear, as well as the inherent urge to heal, she turned to writing. Now offering her human truths and personal experiences on how she navigated them, survived them, then healed and has grown from them, Keeley shares in graphic detail her deeply personal perspective on trauma, mental health, and side effects while bravely giving readers an intimate peek behind the curtain at the functioning of a mind rooted in trauma and riddled with fear, anxiety, panic, depression, shame, and silence.
Read an Excerpt below...
Keeley Brooks is an author, writer, poet, and editor. She's a contributing author to the #1 bestseller My Labor Pains Were Worse Than Yours and in May 2022 released her first poetry collection Poetry from an Isolated Soul. With a decade's experience in entertainment journalism, she currently writes health & lifestyle articles for Modern Grace Magazine and is an arts & entertainment writer and managing editor at Mixed Alternative Magazine.
Keeley has just published her first creative nonfiction book, which details her deeply personal struggle with trauma and mental illness, as well as their effects on her mind, body, and spirit. She also offers an intimate peek behind the curtain at the functioning of a mind riddled with fear, anxiety, panic, and depression, then she shares how she has healed and grown from it all and has found the balance needed to reclaim her life.
Keeley is currently focused on several literary projects, including a collaborative fiction novel with three additional authors and a women's self-care book with her integrative health practitioner.
Excerpt from I'll Never See It
I was told when young to pick a dream in life and go for it. "Do what makes you happy!" they'd say. My only dreams were to find my mate in life and to be a writer.
Do you know how it feels when you've been wearing a brace on your wrist for days or weeks—months, even—and then you finally take it off so your limb can wander freely? You know that stiff, unbroken feeling that is left?
It's like a numbness that leaves your once-restricted limb feeling cold and empty.
Vacant.
That's the feeling I live with, except that it isn't in my wrist or ankle or elbow, but it isn't much of an unbroken feeling at all. It's more like damaged or spoiled—tainted—and it's in my head, in my mind. It has been there for as long as I can remember. Ever since I was a child old enough to write.
And write I did … things I didn't understand at the time, things that didn't make any sense after I read them. They made sense when I wrote them, though, and had my rage not gotten the best of me in my teenage years, these writings would probably make sense to me if I could read them now.
If only I had paid attention to what I was trying to tell myself, things might've been different. I was too young to pay attention to writing back when I was small. All I knew was that I often got this feeling of intense fear and nervousness at inappropriate times. It was a feeling to which I became submissive and was forced to pick up a pen and bleed through as much paper as I could. It was the most exhaustive feeling while it was happening, but once I had written and gotten everything out, relief would comfort me.
The more I wrote, the more I realized something was off. Something inside was different. The confusion I felt only increased my anger, and the more frequently I wrote, the more compelled I was to burn it all.
So, I did.
I burned it all because I didn't understand it; it was dark and sad and would surely cause alarm with my mother if she read any of it, and I didn't want her to see it. I burned it all because I didn't want to be bound to and haunted by my indecipherable words anymore.
It wasn't long after that I began to understand I was broken in a way that could not be fixed. The longer I harbored this idea, the more I began to realize what I had so recklessly burned. I instantly became frightened at the thought of having possibly destroyed the only keys that would release me from the hell I had been locked into.
But time passed and all desire to struggle quickly faded.
I soon stopped trying to find meaning in new things I'd written. I even quit reading my work and trying to make sense of it. To me, I believed it to be of no use and hope. So, I just gave up on it altogether until one day, nearly a decade later, it hit me:
I can't make sense of my writings because the writings themselves are sick!
My writings were products of a sick mind. They weren't explanations for what I was feeling; they were a product of what I was feeling. They were manipulations and therefore not meant to be understood.
That is why, for those of you who try, it is hard to write about your mind and the state in which it lives. In fact, that is why it is even harder to decipher what is written by a sick mind; however, if you know what to look for in these writings and you are successful in finding it, all that is left to determine is what you will do with what you have found.
Of course, you will never get there without being able to see where the simplicity of it all lies, which is not in any meaning of the writing; it's in the writing itself … it's in the words. They are so simple, so basic.
It's the way they are linked together and the rate at which they flow that create difficulty, and how quickly they flow is unknown to anyone other than the writer.
But, as a reader, even when you feel you are getting somewhere, there is still one thing to be remembered: writings of a sick mind do not want to be deciphered, not even by their creator.
So, why, then, are they here? To confuse those who are able to think with a rational mind?
For others like me, they are here as portals of communication, which require no thought. You see, a meaning (quite different from an understanding) comes from within, from what is felt when (and if) you succeed in unlocking the words.
And more often than not, those of you who operate on level playing ground just walk away from these portals full of confusion and sometimes pity, but mostly just with thoughts of how "psycho" or "mentally ill" the writer is. And lucky for you, you are usually right, but not always. Just because I struggle and think differently and want to voice how I feel so it doesn't devour me whole does not make me psycho or ill. It makes me a human being who battles some things but is still here growing and learning and trying. And this leads me to where I am today, with a silly dream of being a writer, because how can I be a writer when what I produce will touch no one in a positive manner?
Still, another day passes, and it seems I just can't leave well enough alone. I've never been able to, instead becoming one who pokes and prods and pulls at every opportunity to make well enough worse.
I'm the one who chases after what others fight off: instead of running away from the darkness, I run towards it holding flares in each hand, hoping to draw it closer. I just don't know that I'm doing it until it's too late to turn back.
And that's how it all started.
At a mere eleven years of age, I lost all sense of reality that once surrounded me. What I should've feared and fought became a home to me.
Living in darkness became second nature. In fact, it has been so long since I've been able to differentiate between reality and fantasy (because of trauma that happened in reality and because I kept quiet about it) that for a long time, I forgot what all sense of reality looked, felt, tasted, and sounded like; thus begins my story of how I came to live amongst a handful of demons—puppet masters, if you will—who, to this day, will not and cannot let me go.
You know, Oscar Wilde also said that the truth is rarely pure and never simple.
This is my truth, and I have lived it, survived it, learned from it, and evolved and moved forward because of it. And I can assure you it is as pure as I remember and indeed not simple at all.
Labels: memoirs, self-help
Cami RABT January 2, 2023 at 1:42 PM
Keeley Brooks January 9, 2023 at 5:51 PM
Thank you so much for the spotlight, Our Town!


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The boundaries between Craft, Art and Design have become blurred. Holly Jerger (curator at CAFAM) encourages reconsideration of how we subdivide and classify genres and techniques in the art world. She challenges preconceived notions about contemporary craft, art and design, looking for timely and contemporary art without losing the meaning of craft, materiality, and the handmade. Award of Solo Exhibition at SoLA Gallery for selected artist.


text:
Андре́ Базе́н (; 18 апреля 1918, Анже — 11 ноября 1958, Ножан-сюр-Марн, департамент Валь-де-Марн) — французский кинокритик, влиятельный историк и теоретик кино.

Биография
Учился в Эколь нормаль в Сен-Клу, в 1941 прервал учёбу, в период оккупации основал в Париже киноклуб, в 1943 начал писать о кино. После войны активно участвовал в развитии народного образования, создав сеть киноклубов на заводах Германии, Алжира, Марокко. Постоянно писал о кино в газетах и журналах, основал журнал «Радио-кино-телевидение» (ныне «Телерама»), привлек к участию в нём молодого Франсуа Трюффо.

В 1951 вместе с кругом соратников основал журнал «Les Cahiers du cinéma», давший теоретическую базу движению «Новая волна» и ставший своеобразной кузницей кадров нового французского кино. Пропагандировал итальянский неореализм, фильмы Чарли Чаплина, Орсона Уэллса, Штрогейма, Фрица Ланга, Дрейера, Бунюэля, Хичкока, Марселя Карне, Жака Беккера, Жана Ренуара, Акиры Куросавы, во многом заложив базу будущей киноэстетики Трюффо; Эрика Ромера, Клода Шаброля, Жака Риветта и других. Умер от лейкемии за год до выхода в свет первого фильма Трюффо и не увидел воочию торжества своих идей и учеников.

Ошибочно считается, что работы Базена были собраны в четыре части книги «Что такое кино?» лишь после его смерти. Четырёхчастная структура книги, а также структура первых двух томов были определены самим Базеном, на что он указывает в предисловии к первому тому «Онтология и язык»:

«Это первая книга серии, состоящей по крайней мере из четырёх томов, объединяющая статьи, опубликованные после войны. <…> …автор, насколько это только было возможно, выбирал статьи наименее напрямую обусловленные злободневной журналистикой. Из этого следует, что тон и главным образом размер статей, здесь объединённых, будет существенно меняться; критерий, которым мы руководствовались — приоритет содержания над формой, поэтому та или иная двух-трехстраничная статья, появившаяся в еженедельнике, в тексте этой книги имеет не меньшую ценность, чем изучение целого журнала или даже может стать для возводимого нами здания краеугольным камнем, необходимым для надёжности фасада. <…> Каждый раз, когда нам это казалось целесообразным, мы ни коем образом не стеснялись их [статьи — Прим. переводчика] исправлять — как форму, так и содержание. <…> …вместо того, чтобы насильно встраивать в существующие статьи наши сегодняшние размышления, чтобы не нарушать естественное течение мыслей». «Второй том книги "Что такое кино?" будет направлен на углубление понимания отношений фильма со смежными искусствами: романом, театром и живописью. Темой третьего тома будет отношение кино с обществом. И, наконец, четвёртый том будет посвящён уникальной тенденции современного кино — неореализму».

Дополнительные подробности, связанные с последней работой Базена, раскрывает его друг и единомышленник, а в последние несколько лет жизни Базена и соредактор по «Cahiers du cinéma», Эрик Ромер:

«Эта книга должна была стать центральным портиком будущего творчества Андре Базена, творчества не журналиста, пусть образцового, но настоящего писателя. <…> …когда я читаю первый том и гранки второго, во мне рождается уверенность: речь идет не о совокупности набросков, эскизов. Это строение хоть и не увенчано коньком, стоит на крепком фундаменте, на месте не только остов, но и перегородки, и некоторые из них уже давно не нуждаются в совершенствовании. Этот момент очень важен. <…> Несмотря на внешний вид, мы имеем дело не со сборником. Конечно, совершался отбор, но целое выглядит так, как будто отдельные избранные статьи, чаще всего не подвергшиеся редактуре, были написаны ввиду этого отбора. Ничто здесь не носит следов случайностей журналистского ремесла, которое Базен, тем не менее, практиковал со всем известным пылом и ощущением своевременности. Эти тексты, порожденные конкретными обстоятельствами, одновременно были частью методически развивающегося плана, который теперь предстал перед нами. И никакого сомнения нет в том, что речь идет действительно об априори составленном плане, а не о последующей аранжировке».

Теоретические положения

«О политике авторов»
В этой статьей Андре Базен критически подходит к теории авторского кино, которую развивали коллеги Базена по киножурналу «Cahiers du cinéma» (Франсуа Трюффо, Эрик Ромер). Он ставит под сомнение полноту обоснования концепции авторов, в то время главенствующую в журнале. Сразу же обозначая тот факт, что он не видит роль автора в кино в том же объёме, как видят её его соредакторы, он тем не менее хочет верить в саму концепцию авторства. Базен рассматривает значимость личности автора в живописи, литературе, поэзии и кинематографе. Рассуждая в 1957 году про феномен и судьбу гения в искусстве, Базен заявляет, что за пятьдесят лет кинематограф сделал огромный скачок в своём развитии и достиг уровня романа и пьесы, а затем утверждает, что «в таких условиях вряд ли стоит удивляться, что гений сгорит в десять раз быстрее, нежели режиссёр, который не страдает от потери способности прокатиться по волне. Так было в случае со Штрогеймом, Абелем Гансом и Орсоном Уэллсом. Сейчас мы начинаем видеть в достаточной перспективе, чтобы заметить любопытное явление: режиссер в течение своей жизни может быть снят с мели следующей волной, как в случаях с Абелем Гансом или Штрогеймом, современность которых становится все более очевидной в настоящее время».

Андре Базен замечает в своей статье, что кинематограф из-за своего коллективного и высокотехнологичного производства более всех искусств нуждается в определении роли авторства, но в то же время критикует сторонников авторского кино за применение такого подхода как единственно верного, потому что это может привести к «отрицанию фильма во имя похвалы своего автора» . Базен предлагает критикам и теоретикам отказаться от такого эксклюзивного понимания в анализе кино, но оставить непосредственно саму позицию автора.

«Эволюция киноязыка»
Основным положением в этой работе является утверждение о том, что технический и эстетический разрыв в кинематографе произошел не с появлением «звукового» кино, а с разветвлением кинематографа на две разные стилевые линии киновыразительности. Базен говорит о том, что разрыв между «немым» и «звуковым» кино является формальным, более того, некоторые художественные ценности кинематографа 20-х годов были заимствованы «звуковым кино». В качестве доказательства он приводит примеры режиссёрской преемственности, сравнивая Эрика фон Штрогейма с Жаном Ренуаром. Базен определяет две главные тенденции в кинематографе (с 20-х по 40-е годы) — «одна из них представлена теми режиссерами, которые верят в образность, другая — теми, кто верит в реальность». Иными словами, Андре Базен противопоставил монтажное и немонтажное кино. К первому течению мы можем отнести весь Советский киноавангард, а ко второму течению таких режиссёров, как Эрих фон Штрогейм, Ф. В. Мурнау или Р. Флаэрти: «...в их фильмах монтаж практически не играет никакой роли, если не считать чисто негативной функции неизбежного отбора в слишком обильной реальности». То есть под образностью Базен понимает создание нового смысла с помощью соединения кадров (монтажа), а под реалистичным течением — свободу зрителя во время просмотра фильма, которая обусловлена реализмом и простотой мизансцены.

Далее Базен проводит ещё одну черту в эволюции киноязыка, разделяя звуковую эпоху на 30-е и 40-е годы. Рассуждая про монтаж и раскадровку в 30-х годах Базен называет такой подход «аналитическим», так как «зрителю остается только следовать за гидом-режиссером, который производит выбор за него и сводит к минимуму его личную активность». Этот период, по мнению Базена, является чисто описательным, в нём не было реалистического обновления, так как раскадровка, характерная для этого периода, искажала реальное время — камера фиксирует достоверность пространства через множество разных планов, что говорит как раз о преобладании роли монтажа в кино.

Десятилетие 1940—1950 годов для Андре Базена было решающим, так как появление глубинной мизансцены и плана-эпизода поставили точку в формировании необходимой стилистической формы для киноискусства. Здесь он имеет в виду, что благодаря таким техническим приёмам, как глубинная мизансцена и план-эпизод, режиссёр стал способен передать течение времени в действительности, то есть реальную длительность события в кадре. Тем самым Базен имел в виду победу «реалистичной» тенденции в кино над «образной», т.е. монтажной.

Примечания

Труды
 Orson Welles (1950, в соавторстве с Жаном Кокто).
 Qu'est-ce que le cinéma ? (4 тома, 1958—1962). скачать книгу целиком
 Jean Renoir (1971).
 Le Cinéma de la cruauté. Erich von Stroheim — Carl Theodor Dreyer — Preston Sturges -Luis Bunuel — Alfred Hitchcock — Akira Kurosawa (1975).
 Le Cinéma de l'Occupation et de la Résistance (1975).
 Le Cinéma français de la Libération à la Nouvelle Vague (1983).
 La Politique des auteurs (1984).

Публикации на русском языке

 Базен А. Что такое кино? [: сб. статей ]. — : Искусство, 1972. — 382 с.
 Базен А. «Господин Рипуа» с Немезидой или без неё [Текст] / А.Базен; пер. с фр. И.Эпштейн // Киноведческие записки. — 1997. — No 35. — 202—211.
 Базен А. «Дневник сельского священника» и стилистика Робера Брессона [Текст] / А.Базен; пер. с фр. И.Эпштейн // Киноведческие записки. — 1993. — No 17. — С.80-93.
 Базен А. Жан Ренуар / Предисл. Жана Ренуара. Введ. Франсуа Трюффо. — : Музей кино, 1995. — 191 с.: ил. — ISBN 5-88395-012-4 : 15
 Базен А. Миф Сталина в советском кино [Текст] / А.Базен; пер. с фр. Н.Нусинова // Киноведческие записки No1, 1988. — С.154-169.
 Базен А. «Тайна Пикассо»: Фильм в духе Бергсона / Пер. И. Г. Эпштейн // Сеанс. 2008. — № 33/34.
 Базен А. О политике авторов / Пер. В. Лазарев. // Cineticle. Интернет-журнал об авторском кино.

Значение и признание
Шедевр Трюффо «Четыреста ударов» посвящён памяти Базена, который умер на следующий день после запуска фильма в производство. Работы Базена об авторском кино (его теорию автора развил Франсуа Трюффо) ставят рядом с трудами Эйзенштейна и Кракауэра. Они переведены на многие языки и вошли в системы обучения киноискусству во всех странах мира.

Литература
 Schmige H. Eisenstein, Bazin, Kracauer. Zur Theorie der Filmmontage. — Hamburg: Medienladen, 1977.
 Dudley A. André Bazin. — : Oxford UP, 1978.
 Ungaro J. André Bazin: généalogies d'une théorie. — : Harmattan, 2000.
 Аронсон О. Кинематографическое событие. К теории глубинной мизансцены Андре Базена // Он же. Метакино. — : Ad Marginem, 2003. — С. 13—26.
 Вдовина И. С. Философские основы кинокритики А.Базена [Текст] / И. С. Вдовина // Вдовина И. С. Эстетика французского персонализма. — М.: Искусство, 1981. — С.147-171.
 Метьюс П. Погружаясь в реальность: Андре Базен вчера и сегодня [Текст] / П.Метьюс; пер. с англ. С.Ишевская // Киноведческие записки. — 2001. — No55. — С.142-148.
 Соколов В. С. Антимонтажен ли Базен? [Текст] / В. С. Соколов // Киноведческие записки. — 1993/94. — No20. — С.154-161.
 Штейн С. Методологические замечания к исследованию аспектов онтологии кино в концепции Андре Базена [Текст] / С. Штейн // Вестник ВГИКа. — 2010. — № 5. — С.64-71.
 Штейн С. Методология исследования концепции Андре Базена в рамках дисциплинарной матрицы системного кинознания [Текст] / С. Штейн // Менеджер. Кино. — 2010. — № 12. — С.42-51.
 Штейн С. Ю. Онтология кино в концепции Андре Базена : дисс. … канд.искусствоведения : 17.00.03 : защищена 20.04.2011 [Место защиты: Всерос. гос. ун-т кинематографии им. С. А. Герасимова] : утв. 09.02.2012 [Текст] / С. Ю. Штейн. — М., 2011.

Ссылки
 http://www.answers.com/topic/andr-bazin-2
 Официальный сайт журнала «Les Cahiers du cinéma»
 Философия фильма у Базена
 О кинотеории Базена, часть 1
 О кинотеории Базена, часть 2
 Статьи об Андре Базене на сайте журнала «Сеанс»

Кинокритики Франции
Теоретики кино
Умершие от лейкоза
Главные редакторы журнала «Кайе дю синема»
Выпускники Высшей нормальной школы Сен-Клу

redpajama_set_name: RedPajamaWikipedia


Eco OIL is an agribusiness private Congolese Company created in 2013. Its founder and CEO, Claude Wilfrid Etoka has just been appointed by his peers to the presidency of the "Groupement du Patronat de la Francophonie" in charge of "corporate social responsibility" commission for a four-year term.
ECO-OIL ENERGIE wishes through its ECOPLUS flagship program to contribute to the reduction of Congo's food dependency by facilitating and working on the cultivation of thousands of hectares of arable agricultural land.
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from Stephen De Boer: Bruce grew up in Minnesota and went to college at the University of Oregon, where he was Kenny Moore's roommate and ran for Bill Bowerman. He won the NCAA steeplechase championship. He continued running after returning to Minnesota, finishing 6th in the Boston Marathon in 1972 in 2:19:59. As a Master's runner, he ran several good times, including a 2:22:24 marathon at age 41 and 2:26:18 at age 45. Other PRs in his 40s were 25:12 for 8k at age 45, 31:24 for 10k at age 44, and 2:59:36 for 50k at age 44.


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Architecture firm BIG has built a compact black cabin with an angular roofline in the Hudson Valley, as the initial model for prefab-housing startup Klein.
The Bjarke Ingels Group has developed a hut which can be individualized and be built quickly in any location. Known as 'A45', BIG designed the dwelling using a layout that efficiently utilizes the useable space by using a square base of 17 square meters and twisting the roof by 45 degrees. This allows the tiny house to benefit from a ceiling height of 4 meters.
The project is an version of the traditional A-frame cabin, recognized for its pitched roof and angled walls. Built in upstate New York, the micro home is designed for Klein, founded by designer and interior architect Søren Rose.
Inside, Nordic influences shape the interior with exposed timber frames, Douglas fir flooring, and a cedar sauna-styled bathroom while floor-to-ceiling glazing puts you upfront with nature. Along with its wood-burning stove, the entire structure operates off-grid and is made entirely from recyclable materials.
"When you go into the woods, you actually want to get into the woods," Ingels explains. "A home that's incredibly compact ensures that nature is what you end up experiencing." The prefabricated cabins are intended to serve the growing number of city dwellers wanting to escape to nature, such as the micro home by Japanese brand Muji.


Icemark is a leading company in import, export and distribution of fresh fish and seafood mainly from Iceland. Our employees are committed to supply outstanding quality, value and services. Every day, the finest raw materials are selected from the markets, processed and then dispatched on the first available flight. We have developed strong relationships with leading producers of fish which enables us to offer constant supply at highest desirable quality available.


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					CvImagePackagePick

Class CvImagePackagePick

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is<wbr>Delete

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is<wbr>Delete

is<wbr>Delete(): boolean

Inherited from CvImagePackage.isDelete

Defined in ext/CvCellValueDef.tsx:78

Returns boolean

is<wbr>Pick

is<wbr>Pick(): boolean

Overrides CvImagePackage.isPick

Defined in ext/CvCellValueDef.tsx:93

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is<wbr>Redo

is<wbr>Redo(): boolean

Inherited from CvImagePackage.isRedo

Defined in ext/CvCellValueDef.tsx:81

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is<wbr>Undo

is<wbr>Undo(): boolean

Inherited from CvImagePackage.isUndo

Defined in ext/CvCellValueDef.tsx:80

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is<wbr>Url

is<wbr>Url(): boolean

Inherited from CvImagePackage.isUrl

Defined in ext/CvCellValueDef.tsx:77

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						Image<wbr>Existence<wbr>State

						Cv<wbr>Image<wbr>Package

						Cv<wbr>Image<wbr>Package<wbr>Delete

						Cv<wbr>Image<wbr>Package<wbr>Pick

								is<wbr>Delete

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						Cv<wbr>Image<wbr>Package<wbr>Redo

						Cv<wbr>Image<wbr>Package<wbr>Undo

						Cv<wbr>Image<wbr>Package<wbr>Url

						Cv<wbr>Attribute<wbr>Cell<wbr>Value<wbr>Def<wbr>Props

						Cv<wbr>Attribute<wbr>Cell<wbr>Value<wbr>Def<wbr>State

						Cv<wbr>Cell<wbr>Value<wbr>Def<wbr>Props

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						Cv<wbr>Attribute<wbr>Cell<wbr>Value<wbr>Def

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To many, Vanessa & Flavien require no introduction. Regulars at both races and concours events, the couple are heavily involved in the motoring world from buying & selling automotive rarities to curating the cars on a concours lawn and running their own racing series. Together they help to curate the incredible array of cars at both the Concours of Elegance at Hampton Court and the London Concours at the Honourable Artillery Company. Alongside that they are coordinating the purchases & sales of cars like a 1 of 3 1954 Frazer Nash Sebring and a 1931 Bugatti Type 51. In addition, the pair run their own race series; the GT & Sports Car Cup for Pre-66 GTs and Pre-63 Sports Cars with races from Donington to the Portimao Circuit in the Algarve. Both Vanessa and Flavien each come from automotive-centric families so it should be no surprise that they've ended up with the jobs that they do now, but we wanted to know a little more about the how's and why's behind their lives in the motoring world.
1954 Frazer Nash Sebring available with Automobiles Historique | Source: Automobiles Historique
For our inaugural issue of The Apex, we spoke to them about how they got into the automotive world, what goes into curating a Concours and the impact of macro topics like climate change & COVID-19 on our passion. We also touched on the topic of their very unique wedding car. Vanessa & Flavien very kindly took the time to speak to us from self-isolation at home.
The Apex
Vanessa & Flavien Marçais
How did you first get involved in the automotive world?
Good question! My [Vanessa] Father has a restoration business, established over 50 years ago, so I grew up around historic cars. It was a passion I acquired almost intravenously - whether it was playing on a rusty XK120 chassis in the back garden, or spending weekends in dusty race paddocks. It has always been my way of life. In the early part of my career I worked for a London classic car auction house and showroom, followed by going to work for Gregor Fisken in his famous Mews emporium. I realised my passion is really in organising racing events for historic cars, so it was only natural when Flavien & I created the GT & Sports Car Cup, sitting alongside our Automobiles Historiques platform, which purchases & sells historic sports and racing cars by private treaty.
Race start at the GT & Sports Car Cup Silverstone | Source: Charlie Brenninkmeijer
Was there a particular car that began the passion for cars? Does that car still elicit the same excitement today?
Without doubt, the one car that ignited the passion is the Bugatti Type 51. That flame is still burning…
1931 Bugatti Type 51 available through Automobiles Historiques | Source: Automobiles Historique
Not many people will know this, but yourself & Flavien had a rather special wedding car.
I guess not many people can say they left their wedding in a Porsche 917K. It was the famous Gulf #2 car that won the 1971 Daytona 24Hrs and featured in the film Le Mans with Steve McQueen.
Source: Vanessa & Flavien Marçais
You and Flavien are currently working with the London Concours, amongst others, to curate the cars to be displayed. Most 'traditional' Concours events are held on the grounds of historic buildings or places associated with motoring through the ages. Why host a Concours event specifically in London?
Being a very cosmopolitan city and based at the Honourable Artillery Company in the heart of the financial world – just down the street from the Old Street roundabout – gives a very interesting feel to the London Concours. The atmosphere feels very different to any other Concours event – it has a more youthful ambience. Although, thanks to the cricket grounds at the HAC, we still get to have the quintessential Concours manicured lawn.
Source: Charlie Brenninkmeijer
What are the kinds of people you're looking to attract to the London Concours?
The London Concours has, in a very short time, become very much a part of the 'Lifestyle' scene and the London motoring 'season'. It makes the event very accessible to a great variety of keen enthusiasts - you get people coming into the event on their lunch-breaks & office-workers gawking from their offices at the array of cars on display. Perhaps it makes it easier for a younger demographic to be introduced to the passion, something that is also reflected in the selection of more modern cars on display. By having the Concours in the middle of the city it means that it feels more open and welcoming to those that maybe haven't been to a Concours event before.
Do you think the Concours world has changed over the past 10 years? Where do you see it going in the next 10?
For many decades the Concours scene has been very strong and recently we are definitely seeing a broader range in age span and nationalities attending. These events will continue to be extremely popular into the future especially if racing & rally events are somewhat reduced due to energy regulations.
How do you go about choosing the themes and classes for the Concours?
Our roles as curators are to suggest ideas and themes to the Steering Committee, which is headed by Peter Read - Motoring Committee Chairman of the RAC, along with Andrew Evans - Managing Director of Thorough Events, who run the London Concours - and a team of notable 'petrolheads'. A great aspect of London Concours is the ability to have themes you wouldn't normally see at other Concours events – including the very popular 'Outlaws' and the 'Made In Germany' classes. This year, for example, we have a class dedicated to Hot Rods in 'Speed of Sand', in partnership with the Ace Café.
Credit: London Concours
What are the challenges with curating the cars that will be on display?
Each year the Committee needs to choose interesting examples in Concours condition that have not been featured at the event before, and not necessarily been seen by the public in recent times. This is something that becomes much more difficult the rarer a car is or during anniversary celebrations for specific marques or models.
Any exciting star cars you can reveal for the 2020 London Concours?
Not a car specifically, but 'The Collector' class this year will feature the personal collection of Ian Callum CBE. We could see a Vulcan this year in the 'Great Marques: Aston Martin' class to Lancia rally legends like the Stratos, 037 and Delta in 'Lancia Legends'.
Flavien, could you please tell us a bit more about your fantastic motoring archives, as well as a bit about your grandfather, Serge Pozzoli, who started the collection?
I purchased the wonderful collection of my Late grandfather Serge Pozzoli, from his estate, 20 years ago, then purchased Christian Moity's, the great French historian and journalist, nearly 10 years ago and most recently in 2017 Ferret Fotographics, the unique motorsport image library built up over decades by Ted Walker, which comprises over 7-million original images. I also acquired some smaller collections from individual photographers over the years and collected plenty of material myself during my many years of work as a motoring journalist and editor. The various collections fit amazingly well together and the archive is very much orientated towards racing, now known as the Flavien Marçais Collection.
Together you organise the GT & Sports Car Cup, as you mentioned, for Pre-66 GTs and Pre-63 Sports Cars of a type that were raced in the World Endurance Championship in period. Vanessa, you find much overlap between those in the racing world and those in the Concours world?
Well, that's quite an interesting question. There's a small cross over but generally we find that the racers stick to the track events and the Concours entrants are committed to a static display. It's a completely different approach preparing a car for 2 hours of side-by-side action versus putting it up against some of the most pristine vehicles assembled to take home the coveted 1st place rosette.
Assembly at the GT & Sports Car Cup Silverstone | Source: Charlie Brenninkmeijer
Will the impending domination of alternative energy vehicles help or hinder classic car events like London Concours and race series like the GT & Sports Car Cup?
Time will tell, but in my opinion, owners of original and genuine historic cars will treasure them even more so. Hopefully it will also amplify their desire to race, rally and showcase the vehicles worldwide.
GT & Sports Car Cup at Donington Park | Source: Charlie Brenninkmeijer
Continuing on macro topics of the moment, do you think that COVID-19 will have a lasting impact on the motoring world?
In the short term we're seeing an abundance of owners, entrants and racers who are currently 'chomping at the bit' and very keen to get back out on the road, concours lawn and track to make the most of their prized possessions. It's hard to tell what the lasting impact COVID-19 will have, but I feel that in all walks of life, not just within the motoring world, it will change many of our perspectives.
How about a few quick-fire questions to end on Vanessa.
Concours or racing? Racing.
Restored or patina? You already know the answer to that – patina!
Sports Cars or Grand Prix Cars? Sports Cars.
C Type or D Type? C Type.
Favourite Circuit? Nordschleife.
Favourite car ever raced? C Type.
Any car you've missed out on? You'll have to ask me that again in a few years. The game's not over yet!
The London Concours will be held at the Honourable Artillery Company from August 19th – 20th.
Vanessa & Flavien Marçais can be found at Automobiles Historiques or GT & Sports Car Cup, and on Instagram; @automobiles.historiques and @gtandsportscarcup
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Cary graduated from the Western University of Veterinary Medicine in 2018. He came to our clinic soon after. Cary works with small and large animals. Cary enjoys hiking, fishing, kayaking, and playing golf. He has a cat named Nacho.


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Who is Hugo Germain?
One of our country's hottest hoteliers dishes on the "smart car" of Canadian hotels and the importance of clean, crisp sheets.
With two Alt hotels up and running in Montreal and Quebec City – and another under construction in Toronto – 32-year-old Hugo Germain is positioning himself as the head of Canada's most anticipated new hotel chain.
The young (fairly flirty) Quebec City-based hotelier – whose name sounds like a cross between a Metzingen fashion house and a Parisian stroll – has set his sights on Vancouver, Calgary and Halifax as other potential locations for the new Alt brand.
TOQUE & CANOE: Tell us about your vision for the Alt hotel chain.
HUGO GERMAIN: My goal is to establish a Canadian brand – a three star hotel that caters to business travelers. We're aiming for a consistent experience from coast to coast that has an accessible price, good style and a friendly staff.
T&C: Your family has built a reputation for its upscale Le Germain hotels (found most recently in Calgary, but also in Toronto, Montreal and Quebec City.) What does an Alt hotel bring to the table that is distinct from a Le Germain?
HG: For a Le Germain, imagine an Audi A8. The speed. The air conditioning in the back seats. The best indoor console. These details are expected by certain people.
With Alt hotels, think Smart car. It's going to do the job and do it well. You will get comfort and a nice design and it's going to be a fun experience – but affordably so.
T&C: Tell us about your influences. What has shaped Hugo Germain's vision for hotel culture?
HG: People don't need the frills like they used to. They're aware of their pocket book so they're looking for good value. But they're also looking for style. We're talking about getting down to the basics. That's the sweet spot.
T&C: You're obviously a big traveller. What irks you most when you're staying at what is supposed to be a "quality" hotel?
HG: Being woken up by an unintelligent ventilation system. You know the kind. The one that starts and stops throughout the night, messing with your sleep. The one that can't keep the temperature you've requested on the thermostat. Now that annoys me.
T&C: We know you love your family's hotels. But if you had to choose one of your favourite Canadian hotels – one that didn't have the Germain Groupe's name on it – which one would it be?
HG: I would have to say Opus in Vancouver. It's a cool place. It's fun. They're a hip hotel but they do the basics well. Good location. Simple technology. Comfortable beds.
They're clean and they provide good service. These are the elements that make for a good experience. When I left Opus I was in a good and agreeable state. This says a lot.
T&C: Finally, what's the first thing you do when you check into a hotel room?
HG: I switch on the television because I travel alone and it keeps me company. Then I check to see if the bed sheets are ironed. The most comfortable hotel bed is the bed that has been ironed. Why? Because it feels brand new. Nothing, absolutely nothing, compares.
Hotels & Lodges, International, Quebec