NEWTON, Mass.--(HSMN NewsFeed)--April 6, 2006--The clinical performance of Matritech's (Amex: MZT ) NMP22® BladderChek® Test, a point-of-care urine test, in detecting occult bladder cancers was presented today at the 21st Annual Congress of the European Association of Urology (EAU) in Paris. The NMP22 BladderChek Test was reported to detect all of the cancers that occurred in the upper urinary tract of patients with risk factors or symptoms of bladder cancer. Cystoscopy (a visual examination of the interior of the bladder using a scope inserted through the urethra) did not identify these tumors because they were outside the viewing area of the instrument. The tumors were also not detected by cytology, a commonly used laboratory test.
This new information was presented by H. Barton Grossman, M.D., Professor and Deputy Chairman, Department of Urology, University of Texas, MD Anderson Cancer Center at a podium session at the EAU Congress. The EAU is the largest scientific urological association in Europe, with over 16,000 members. Its mission is to promote urology in Europe and worldwide.
Dr. Grossman is the lead author of two articles which appeared in the Journal of the American Medical Association (JAMA) in February, 2005 and January, 2006 evaluating the NMP22 BladderChek point-of-care test in both the diagnosis and monitoring of bladder cancer. His presentation at the EAU is an updated analysis of the diagnostic study.
"Our challenge as urologists is to improve detection of bladder cancer. Urinary tract cancer is the second most common urological malignancy after prostate cancer. In addition to detecting over three times as many tumors as the conventional urine test, cytology, the NMP22 test identified cancers in areas cystoscopy could not evaluate. As these data show, a cystoscopic examination is excellent, but not perfect. The combination of the NMP22 test with cystoscopy detected significantly more cancers than cystoscopy alone. Because of the inaccessibility of the upper urinary tract, accurate diagnosis can be challenging. Adding the NMP22 test improved detection. Moreover, the NMP22 BladderChek Test is easy to use in an office setting, provides an answer in half an hour, and is inexpensive."
These conclusive results are consistent with similar findings that were previously reported in the JAMA articles.
The NMP22® BladderChek® Test was developed and commercialized by Matritech, a leading developer of protein-based diagnostic products for the early detection of cancer. The NMP22® BladderChek® Test detects elevated levels of the NMP22 protein marker in a single urine sample. Most healthy individuals have very small amounts of the NMP22 protein marker in their urine, but bladder cancer patients commonly have elevated NMP22 protein marker levels, even at early stages of the disease. A study published in the Journal of the American Medical Association (JAMA) in January, 2006 demonstrated that the NMP22 BladderChek Test used in combination with cystoscopy (a visual examination of the bladder), detected 99% of bladder malignancies. The NMP22 BladderChek Test also detected cancers that were missed during an initial cystoscopic examination, most of which were high grade. In an evaluation of clinical results of women with symptoms or risk factors for bladder cancer, the test was shown to detect 100% of the aggressive tumors, one of which was muscle invasive.


Launching on March 8 – International Women's Day – until 22 March, the exhibition will include pieces by artists including celebrated enfant terrible of the art world, Tracey Emin.
The Hampstead gallery will mark 100 years since women won the right to vote, while itself celebrating a milestone as it enters its 40th year in business. The show will feature a range of beautiful works from 15 prevalent and inspiring women artists, including Kate Garner's iconic 1990s shots of a young Kate Moss clutching a teddy bear; never before seen artwork from one of Britain's most distinguished contemporary artists Maggi Hambling; and pieces by Rebecca Fontaine-Wolf, who was a winner of the BBC's 'Show Me the Monet' and recently became Vice President to the Society of Women Artists. Also on display will be art by Charlotte Posner, whose work has been used across the fashion and advertising worlds, including collaborations with style powerhouse Louis Vuitton and Jeff Koons.
The work of each artist portrays a strong message in support of women and has been carefully curated by gallery owner, Gabrielle Du Ploy. Pop artist Monika Nowak's work expresses a vision of today's women – strong but fragile – portraying heroines as paradoxical and excessive but also soft and poetic, and Shani Joel's work encourages freedom of self-expression for women in the modern world, inspired by their portrayal in the visual arts throughout history.


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Exclusive Stream: Perennial – "Early Sounds For Night Owls"
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redpajama_set_name: RedPajamaCommonCrawl


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Madeleine McCann Netflix documentary trailer, release date and time
Aidan MilanThursday 14 Mar 2019 12:02 pm
Young Madeleine McCann went missing in Portugal back in May 2007 (Picture: PA)
Controversial documentary series The Disappearance of Madeleine McCann is finally due to drop on Netflix after months of delays.
After facing criticism from Madeleine McCann's parents, Kate and Gerry McCann, who released a statement saying that the documentary could hinder the police investigation into the disappearance of their daughter, the film has already garnered a great deal of attention.
Madeleine McCann, one of the highest-profile missing persons ever to have captured the world's attention, disappeared from her family's hotel room while they were holidaying in Portugal in 2007.
Madeleine was three when she went missing, and the police investigation into her disappearance is still active.
Now, with news breaking that the series claims Madeleine could be 'alive and was abducted by traffickers', it's safe to say that the Netflix docuseries will be an interesting watch, to say the least.
A trailer has also been released ahead of the series making its way onto Netflix, giving viewers a preview of what to expect.
Here's what you need to know about when and how you can watch the eight-part series.
When can you watch The Disappearance of Madeleine McCann on Netflix?
You can watch The Disappearance of Madeleine McCann from Friday 15 March on Netflix.
As standard, new Netflix releases are usually live by 7 or 8am on the day they come out.
The series, which was originally thought to be lasting just two episodes but has been confirmed as an eight-part series, will combine new interviews with over 40 contributors, 120 hours of interviews, archival news footage, and reenactments.
The show will also air never-before-heard testimonies from some of the people at the centre of the search for Madeleine, including investigators, and the McCann family themselves.
Senior child protection officer Jim Camble says in the film that: 'There's huge hope to be had with the advances in technology. Year on year DNA is getting better.
'Year on year other techniques, including facial recognition, are getting better.
'And as we use that technology to revisit and review that which we captured in the past, there's every likelihood that something we already know will slip into position.'
It's also been suggested that Madeleine's status as a 'middle-class British girl' would have made her a desirable target for human traffickers.
Madeleine's parents, Gerry and Kate, who were at a restaurant nearby when Madeleine was taken, hired a private investigator, Julian Peribanez, who refutes those claims, saying traffickers actually tend to go for 'lower class' children from poorer countries.
Kate and Gerry McCann have been publicly critical of Netflix's documentary, saying: 'The production company told us that they were making the documentary and asked us to participate.
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'We did not see and still do not see how this programme will help the search for Madeleine and, particularly given there is an active police investigation, could potentially hinder it.
'Consequently, our views and preferences are not reflected in the programme. We will not be making any further statements or giving interviews regarding this programme.'
To date, a total of £11.75 million has been spent on the search to find Madeleine McCann, with an extra £150,000 being added to the Scotland Yard investigation towards the end of 2018.
Watch The Disappearance of Madeleine McCann from Friday 15 March on Netflix.
MORE: Ricky Gervais' After Life: Everything you need to know about the Netflix show
MORE: Netflix gives new shows 28 days to impress them or they're cancelled
Gerry McCannKate McCannMadeleine McCannNetflix
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These womens black suede effect pull on ankle boots come with two large elastic panels to the sides and a silver zip feature for added decoration. Team with coloured knitted tights to nail the Autumn look.
I really do love my new shoes although the shape is a bit pointy and therefore some of my toes get squashed.
Very comfortable pair of ankle boots, very stylish.
Lovely boots, look great, comfortable and fit well. I am very pleased with them.


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The king vulture (Sarcoramphus papa), is a large bird found in Central and South America. This vulture lives predominantly in tropical lowland forests stretching from southern Mexico to northern Argentina. It is the only surviving member of the genus Sarcoramphus, although fossil members are known.
Large and predominantly white, the king vulture has gray to black ruff, flight, and tail feathers. The head and neck are bald, with the skin color varying, including yellow, orange, blue, purple, and red. The king vulture has a very noticeable yellow fleshy caruncle on its beak.
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28th Annual Human Rights Watch Film Fest: Part 1
Parent Category: Film Festivals
Category: Reviews
Published on Sunday, 30 July 2017 15:50
Written by Nora Lee Mandel
Nowhere to Hide
The 28th annual Human Rights Watch Film Festival is one of the best socially conscious series of documentaries shown in New York City. Co-presented by the Film Society of Lincoln Center and IFC Center, most screenings June 9 -18, 2017 were followed by Q&A's with filmmakers, film subjects, Human Rights Watch researchers, and other experts. Here's an overview of a selection of the engrossing and informative documentaries, most New York Premieres, shown on themes around:
Mideast Migrants
No Justice, No Peace; and Media Freedom (To be covered in Part 2)
Migrants and the Mideast
The continuing human fallout from the disruptive rise of ISIS and the ongoing Syrian civil war dominated the Festival. Each international documentary focused on a different aspect of this tragedy whose causes and impacts extend far beyond its origins.
Zaradasht Ahmed and Nori Sharif, the filmmakers of the Opening Night selection, received the Festival's prestige honor, the 2017 Nestor Almendros Award for courage in filmmaking, named for the activist cinematographer. Their inside view of the war in Iraq is a revealing eye-opener for Americans who turned away when the U.S. pulled out in late 2011.
Kurdish/Norwegian director/photographer Ahmed specializes in empowering local people to document their own experiences. When he was filming at a medical clinic in the formerly diverse village of Jalawla, in the central Diayala Province of Iraq, just over three hours from his family's hometown, he himself first interviewed the staff about the change-over and the wary optimism at the front-line facility. Similar to the arrangement of Guy Davidi with Emad Burnat for 5 Broken Cameras (2011), he trained and equipped a dozen medics to continue filming.
But as militias filled the power vacuum that gradually made the area a "no go zone" inaccessible to outsiders, Sharif, a 36-year-old long-time nurse, was one of the few who stayed on, even as the wounds to treat got more serious. He kept filming the violent chaos he was seeing on ambulance runs through the ruins, and the contrast to the rising stress on his wife and four children. ISIS starts infiltrating, then takes over in 2014; the doctors flee and he keeps filming. When ISIS threatens him as an elitist, and the clinic is wrecked, he takes the camera on their harrowing flight through the desert, that before just looked beautiful from a distance and now risks his families' lives. He struggles to get to a meager refugee camp where his small children still suffer PTSD from bombings, and he helps set up a medical clinic. After five vividly chronicled years, he puts down the camera so Ahmed can bring his first-person story to the world.
Ahmed, along with producer/editor Mette Cheng Munthe-Kaas, participated in Q&A's at the Festival. East Village Entertainment is distributing this powerful diary through North America for awards qualification. Producer Ten Thousand Images is also soliciting donations for Nori and his family and the others living in Sa'ad IDP (Internally Displaced Persons) Camp at:
http://www.tenthousandimages.no/portfolio-item/nowhere_to_hide/#thestory
American director Matthew Heineman documents the stories of parallel, though more political, witnesses, in Syria, with this revealing behind-the-news documentary that had its New York premiere earlier this spring at the Tribeca Film Festival. He interviews four twenty-something men who first got caught up in the Arab Spring to start web-casting protests in their ancient home city of Raqqa, on the northeast bank of the Euphrates River: "The Syrian revolution changed us."
But they continued as citizen journalists when another authoritarian regime filled the vacuum. ISIS gradually took over to declare the capital of their caliphate, a geographic base that supported their extreme ideology. With ISIS tightly controlling its own propaganda media, any footage or photographs you saw on CNN, BBC, and other international outlets on what it was really like to live under ISIS's brutal rule came through these men and their dedicated reporters as RBSS - "Raqqa is Being Slaughtered Silently". This film includes additional images not seen before that searingly counter ISIS's slick videos and social media posts. With ISIS not only hunting and killing journalists but also their families, they managed to slip out to still dangerous exile, where Heineman tracks their fraught exile in Turkey and Germany. They are buffeted by kudos, anti-migrant protests, and ISIS-inspired attacks in Europe. But courageously they persist.
Lost in Lebanon
With the West pushing against Syrian war refugees, British directors Sophia and Georgia Scott spent a year at the northern Lebanese border where Syrians first arrive, for the sisters' second film looking at the psychological impact of war. They closely followed four people who would be regular folks in the U.S., from the youngest, Nemr who at 19 just wanted to be a high school student before his parents sent him out of the country to avoid conscription in the oppressive Assad's army, to the oldest, Sheikh Abdo, who at 39 takes seriously his traditional leadership role like a mayor for his community and tries to do all he can for them in a refugee camp.
Each is homesick and fearful for loved ones, as they describe the bombs and devastation they fled. But even as the directors show how well-organized they've been to try and be self-sufficient and useful during their difficult year among half-million Syrian refugees, the cameras intimately document the personal impact as the Lebanese authorities ramp up restrictions, with arbitrary arrests and paperwork, as well as denial of access to schools, housing, and supplies. As the four get more depressed and frustrated, their conditions seem like a recipe for radicalization (or worse), while all they want are normal lives. Unlike other films (let alone fundraising solicitations) that appeal just to pity, this is a thoughtful, articulate warning against the world's continued inaction on this ongoing crisis.
The Good Postman (Hyvä postimies)
In a microcosm of Eastern European impacts and debates, a small village in Bulgaria has been ravaged by the invisible forces of globalization and Westernization that have left only 38 elderly residents and many abandoned houses. What is visible to them are the primarily Syrian refugees who walk through at night, and the direct democracy still new since the downfall of Communism. Director Tonislav Hristov returned to his homeland to patiently observe the effort of one man, Ivan the Postman, to bring all these issues together in one bold idea: he runs for mayor on the platform of opening up their village to welcome the asylum-seekers.
The migrants are trodding the same paths conquerers have used for centuries. Ivan watches them pass through, chased by border guards, and realizes they are a potential resource to revitalize the community with young families willing to work the fields and fix up the houses. The camera follows Ivan on his route each day as he not only delivers the mail but checks on each person, helps them out with chores – and feels each out for their views on the refugees and his idea.
This all looks warmly promising until we get to see his opposition-- the long-time mayor who locks herself in her office keeping busy on the town's only computer, and a loudmouth, long-haired, unemployed nationalist. Both take advantage of the old ways and nostalgia for the good old days -- she counts on her extended family to vote for her, and he whips up blame-the-migrants complaints while sitting around tables drinking beers. Where Ivan sees the refugees' occasional stays in the empty buildings as pointing to a positive development, the others complain about dangerous vandals. Despite the lovely views of mountains and close looks at craggy faces, the hopeful vibes depressingly dissipate the more these negative agents are on screen, just like those getting louder in Europe.
Workers Cup
Some of the men leaving Asia and Africa are economic migrants desperately seeking jobs. Debut feature filmmaker Adam Sobel intimately captures how their fantasies of opportunities don't get to square with the realities of building the huge facilities needed for the 2022 FIFA World Cup of soccer, the world's biggest sporting event, in Qatar, one of the Middle East's richest countries. For this unique access, Sobel's team was already based there when the government decided to counter the bad press about the conditions for the 1.6 million temporary laborers by staging a "workers welfare" soccer tournament among the contractors, dubbed "The Workers Cup".
Sobel was able to interview the participants living in the Umm Salal Camp run by the Gulf Contracting Company for over 4,000 laborers. Before try-outs begin, we hear the men from Ghana, India, Kenya, and Nepal rue their misleading recruitment and their hopes, while we see their exhausting work days and a scroll cites the restrictions that keep them behind locked gates, reminding one of the refugee camp he left. They recall co-workers who went violently crazy and point to where others were seriously injured. Two had played on good teams at home in Ghana and they have long-term dreams of getting on professional teams, one even lying to his parents that he already has. They even imagine scouts might see them play at this tournament, so they successfully negotiate for practice time.
In class divisions, the Indians work in air conditioned offices; Sebastian manages nine such labor camps and, as a loyal eight-year employee, he takes on managing the company's team, too. But for all their condescending attitudes to the Africans and Nepalis, they also struggle with financial pressures and long-distance relationships, wishing to be promoted to a level that qualifies them to bring their wives. All the men are lonely, and all are big soccer fans.
As the championship games excitingly go on, there are swings between camaraderie and racism, with frustrated suspicions that other companies' teams have non-worker ringers. There's cheers and moments of restored self-respect, then they go back to being a cog in the regulations. Not a Hollywood victory, but a modest win-win for the companies, the workers, and the audience getting this first empathetic, insightful look behind the expensive facades.
Muhi - Generally Temporary
Muslim Palestinian boy Muhammed with a rare disease is seen as a migrant for medical care from the limited facilities in Gaza to a Tel Aviv hospital, living from ward to ward. Co-directors Israeli photojournalist Rina Castelnuovo-Hollander and American videographer Tamir Elterman movingly documented for over four years his and his dedicated grandfather's life living in a Middle East limbo full of cultural contradictions and heartrending juxtapositions. While his family can only rarely get through the checkpoints to visit (and are not convinced the extreme treatment of limb amputation was necessary), his grandfather Abu Naim tries to maintain his grandson's Arabic language and Islamic education. The caring Israelis, including his advocate and long-time peace activist Buma Inbar whose son was killed in war, give him the Hebrew nickname "Muhi" and celebrate Jewish holidays with him. When his grandfather finally gets a permit to work, the hospital, unfortunately, misses the opportunity to hire him as a translator or liaison with the many glimpsed Arab patients and families to just condescendingly employ him as a janitor. Ironically, the prosthetic arms and legs, that give Muhammed the joyous thrill of mobility to attend a rare bi-lingual school, are not available in Gaza and will keep him in this limbo as he will need new ones as he grows.
Some of these films are also shown at versions of the Human Rights Watch Festival in Amsterdam, London, San Francisco, and Toronto. Watch for them as they open in theaters, streaming platforms, or broadcast on PBS or other channels.
The 2016 Ottawa International Animation Festival
Published on Tuesday, 27 September 2016 15:16
Recently, I was on a tour of the Canadian Maritimes. We rode in a bus all the way from Toronto to St. John's Newfoundland and back. On the way back, as we headed from Quebec City to Ottawa , Canada's capitol, I noticed something strange. As we were closing in, none of the signs on the highway mentioned the city at all. I asked the driver guide what the deal was and how far we were from our destination.
She pointed to a sign that said, "Gatineau."
"There it is," she said, "Fifty miles away."
Gatineau? What the heck is Gatineau?
Formerly Hull, Gatineau is a deliberate insult to the rest of the country, created by the government of Quebec. A glorified suburb of the capitol, it's right across from the Ottawa River, easy walking distance from the Parliament building itself. They changed the name to something French and replaced the city on all the highway signs.
To paraphrase the late comic genius Rodney Dangerfield, "Ottawa gets no respect, no respect at all." In fact, aside from the government, the only thing that goes on there that has an international cultural reputation is its annual Ottawa International Animation Festival, which just celebrated its 40th anniversary and ran September 21 -25, 2016.
The art of animation, like Ottawa itself, hasn't been given all that much respect over the years, although in recent decades it has been better appreciated. Most people think that animated films are just for kids (with a little smut here and there), and are easily dismissed except for the annual Disney and Pixar blockbusters.
It is so much more than that.
Ottawa is justly proud of OIAF, and it takes over much of the neighborhood of Bytown — due east of the Parliament building.
The festival has four venues:
The ByTowne Cinema, an arthouse about half a mile east of said parliament.
The National Gallery, a quarter mile northeast, which is a lot grander and prides itself as a world-class museum.
The Arts Court, which has a some galleries, offices and a theater, and a de-commissioned church called St. Bridget's; presentations, interviews and a jobs fair (open to all but they only hire Canadians) are offered there.
They also have a professional conference called The Animation Conference (TAC, very original, that), which is not open to the press.
Most animated films are shorts, and that's what is focused on. Within this mega-genre are several subsets:
for kiddies (which includes TV)
Abstract artistic films
They also showed a retrospective of grand-prize winners from all 39 previous festivals (two of which took place in Toronto, because Ottawa don't get no respect), which illustrated the evolution of taste and subjects over the last quarter of the previous century and the first fifth of this one.
There were also five features shown, two of which will not get a theatrical release in the United States, two others which barely got out of the festival circuit, and one more which will be coming out in December.
Finally there was some experiments in virtual reality, one of which was genuinely exciting.
The festival lasted five days, and it was really worth it.
To learn more, go to: https://www.animationfestival.ca/
It's A Sensitive Man's World at the 2016 Human Rights Watch Film Festival
Published on Monday, 22 August 2016 02:21
The 27th annual Human Rights Watch Film Festival balanced artistic merit with Human Rights Watch's NGO goals of spotlighting terrible injustices around the world. Some films even gave the audience hope! In New York City June 10-19, this important film festival has expanded over the years, co-presenting uptown with the Film Society of Lincoln Center and downtown at the IFC Center, accompanied by related exhibitions and post-screening discussions on the issues with the filmmakers, HRW staff, and other experts. Versions of the festival also travel: this year to Amsterdam and San Diego in January; its 20th anniversary in London in March; Toronto in April; Los Angeles and Miami in May; Chicago and Sydney in June; and selections are shown in over a dozen other cities throughout the year.
Many of these involving films continue to make the festival rounds elsewhere, and some will be released in theaters or on viewing platforms.
In this year's New York City edition of the festival, most of the promotional attention has gone to the record 10 out of the 18 films directed/co-directed by women, particularly on feminist sites and publications. So here's a round-up of the excellent films directed or co-directed by men, with almost all showing insight on issues affecting a diverse spectrum of males. Four documentaries made in the USA delve into hot topics: two on the experiences of growing up transgender; one on veterans working through Post Traumatic Stress; and one on training policemen. Two documentaries show fresh perspectives on Muslim lives in the Middle East, including one that sensitivity follows imprisoned girls. Two films poignantly use fiction, based on true stories, to personalize plights that usually numb us with big numbers, while two international documentaries were co-directed by men.
GROWING UP COY
At what age does a child start feeling their body doesn't match their gender role? How young do they tell their parents? Eric Juhola's world premiere debut feature is a fascinating portrait of how quintessential All-American parents, ex-Marine Jeremy Mathis and his wife Kathryn, support their trans-gender male-born six-year-old, first within the family, then against the maelstrom of public opinion when Coy goes to elementary school and they request Coy's use of the girls' bathroom. Though this is the hot issue of 2016, Juhola met them in 2012 with his attorney friend Michael Silverman of the Transgender Legal Defense & Education Fund as they prepared to file a complaint with the Colorado Civil Rights Division against the school system.
Kathryn is a children's photographer, so she has lots of pictures of their large blonde brood: older sister eight-year-old Dakota, younger autistic sister three-year-old Auri, and the six-year-old triplets: Lily with cerebral palsy, now sole boy Max, and Coy. The photos of Coy reveal an unhappy little boy until by 18-months-old his parents relent to his demands to wear the sisters' frills, be surrounded like them by the color pink, sing alone with them to Justin Bieber, and wish for their anatomy. So they consult a psychologist specializing in nonconforming gender identity and send Coy off to kindergarten in the suburbs of Colorado Springs, an area known for evangelical mega-churches (as seen in Jesus Camp in 2006) and for proselytizing at the nearby Air Force Academy. Anti-government and anti-Planned Parenthood billboards dot the beautiful landscape in the foothills of the Rockies. The lawyer warns that their legal strategy has to include a media plan for educating the public.
The film is strongest at showing the personal stress from what follows, in intimate verité style. Unlike reality TV stars who long to be famous, for this family living in the media storm is a nightmare. After their announcement in Denver, local, national, even international press lay siege to their house and the phone never stops ringing. TV news clips emphasize they were depicted in salacious promotion and headlines. The father is a media relations major at Colorado State, so maybe that helps them get adept at handling press conferences and balancing the media's need for access to their child with Coy's fatigue at rationalizing his choices, let alone as the other kids start acting out their resentments. Amidst all this, the parents struggle to continue home schooling their kids until the school will accept them on their terms. Their ten-year marriage tensely frays in plain sight of the camera.
With all the participants jumping on this test case, what is not explored are their rigidly cultural definitions of gender expectations. Ironically, about the same week I saw Ian Edelman's breezy Puerto Ricans In Paris that includes a French boy with long blonde hair and quirky fashion sense with no presumption by his sophisticated mother that his style preferences indicate a gender question. Since the Mathis's groundbreaking victory in 2013, a model for other states and the recent directive of the Federal Departments of Education and Justice establishing trans students access to bathrooms of their choosing, one hopes the family has moved to a more fluidly accepting place where personal choices don't have to be defined by a binary litigious system.
SUITED
What a socially conscious break from all those self-aggrandizing documentaries about couture fashion designers! Like couturiers, Bindle & Keep make bespoke clothing for one customer at a time, but here the focus is on the needs of their clients. Jason Benjamin's debut documentary, previewed at HRW Festival before its premiere on HBO, followed up on a New York Times article "The Masculine Mystique" about a duo specializing in making suits for trans-people who have never felt comfortable in their bodies or clothes, and have never been able to find a formal suit in the shape of the gender they prefer.
As Bindle & Keep (the name comes from Irish folklore: "bindle" symbolizes the traveler/seeker; "keep" is for home/destination) set up a new showroom in a former industrial area in Brooklyn, the clothiers describe the genesis. Daniel Friedman was a (straight) one-man tailor shop when Rae Tutera, who blogged as "The Handsome Butch", commissioned a suit, then asked him "to apprentice me and I introduced him to a world of people he didn't know existed. He taught me to make clothes for those people." Friedman proudly beams: "Now I fit hundreds of people with different gender identities." Specifically, for suits they can't find off the rack, whether for their professional work or for special occasions.
Each client submits a request explaining their problem and goal, and each fitting is an unfolding story. A sample instruction from a trans-man: "Make my body as masculine as possible. I don't want anyone to be able to pick me out from guys and see curves." (Some clients have had surgery, others not.) The collaboration is not just over measurements, fabric, lining, and cut, but about listening with empathy: "Let's talk about why you're nervous." Coming from around the country where they can't find this service, their upcoming events range from a wedding, to a 40th birthday party, to a bar mitzvah, with this suit a present from a lovingly supportive lesbian grandmother. Two face the specific problem of working as lawyers where conservative attire is a requirement-- a young trans-man sporting a big afro trying to get his first legal job and a trans-woman litigating against trans-gender discrimination in court. Outside the office, some buyers supply videos with the context of their lives at home, from childhood photos and family interviews, to showing off their new suit on their big day.
Unlike Kinky Boots, fit is about more than just making a bigger size. Nor is it like Marlene Dietrich or Madonna transgressively donning sexily fitted tuxedos. So I wanted to hear more from the tailors on the technical specifics of the different adjustments, especially when the first fitting is a cross-communication challenge where the clients try to express what changes they want ("Too flared?" "The pants feel tight.") and the tailors are hands-on with solutions. For clients who have sadly repeated: "I never felt good in clothing", the pay-off is not the product (displayed in a rousing closing fashion show for a cheering audience). The uplifting triumph is the looks and first big smiles on their faces when they finally see their reflection in the mirror match how they feel inside, and how they've always wanted to look. Rae sums up the theme: "Dress braver than you feel!"
Civil War veterans with symptoms of depression, disruptive behavior, and flashbacks had "soldier's heart". Past meets present as Father Thomas Keating, Trappist monk and long-time veterans' counselor of those suffering from what is now called PTSD (Post Traumatic Stress Disorder), frequently frames the condition for this documentary as "moral injury" of guilt or shame for what they saw or did during war that is inappropriate in peaceful civilian life. His solutions of meditation and "nature therapy" could have helped the men in Blue and Gray, or could seem either too old-fashioned or too New Agey to be undertaken by two husky, bearded veterans of the ongoing Iraq War. But by following them in intimate and captivating verité style on their 2,700-mile crowd-funded/social-media supported pilgrimage on foot across America the Beautiful, director Michael Collins lets us "see" how they clear their heads and souls.
Collins provides essential context with their families by catching the two former infantrymen just before they leave Wisconsin to set out for the Pacific Ocean: Anthony Anderson, with his wife Holly and toddler daughter Madeline, and Tom Voss, with his girlfriend Katinka Hooyer, who is also doing postdoctoral research on holistic treatments of PTSD. While both vets have been volunteering as mentors and peer-to-peer counselors for those just returning from military service, the awful statistic "Twenty-two veterans kill themselves every day" haunts their own unresolved adjustment struggles. Voss's recurring memories are seen as photographs by his friend Emmet Cullen, who trained with him.
Not yet another "inspiring" personal achievement trek, the two men actively post their progress on social media and arrange to meet up with other veterans along the route, as well as the occasional local press. They are sometimes hosted in the houses of relatives or strangers, sometimes saluted with flags and BBQ picnics or as honored guests at church services and Native American ceremonies, and sometimes they sleep under the spacious starry skies. (The two-person film crew improvised techniques to keep a discreet distance when they met up.) Through four seasons and locales out of "This Land Is Your Land", sometimes to the guitar of Nels Cline, beautifully shot by cinematographer Clarissa De Los Reyes and second unit DP Gideon DeVilliers, they walk a clearly mapped route like the pioneers, from Middle America to the West Coast, sharing experiences, breathing exercises, and meditation coping strategies. In one moving stop, they accompany an elderly mother at her son's funeral after his suicide.
While some human rights documentary filmmakers grumble about the ancillary programs funding sponsors require these days, this New York premiere and other screenings around the country participate in the project's two-year "Impact Campaign" with local and national soldier suicide prevention partners, and with the Veterans Administration. Collins and his producing partner Craig Atkinson learned the value of external activities with their previous, investigative documentary Give Up Tomorrow (2011) that sought to free a prisoner. Almost Sunrise will premiere on PBS's POV on January 2, 2017.
Scenes from Ferguson, Missouri in August 2014 opens and are repeatedly revisited, the confrontation between chanting protestors and policemen looking like an occupying army with raised shields, face masks, and tear gas. Sadly, they could also be footage from Baton Rouge this summer. After world premiering and winning Best Documentary Feature at the Tribeca Film Festival, Craig Atkinson's pointedly relevant directorial debut looks at the macho equipment, tactical, and training issues that have aggravated law enforcement's relationship with civilians.
While other recent festival fave documentaries have dealt with pieces of the problem– Barber & Christopherson's Peace Officer (2015) on the growth of SWAT teams; Nick Berardini's Killing Them Safely (aka Tom Swift and His Electric Rifle) (2015) on the unregulated use of tasers; and Steve James's The Interrupters (2011) on nonviolent alternatives for de-escalation – this thorough and alarming investigation covers two years across 11 states. Useful facts, in annoying capital letters, scroll by on screen to buttress the footage and interviews with academics and police authorities. (Atkinson says he's the son of a cop, and does give them plenty of screen time for their point of view.)
The police look like an army because they are getting de-accessioned equipment from the Department of Defense. As one young black woman demonstrator comments disgustedly: "They've got to stop giving these boys these toys because they don't know how to handle it." Local police departments, small and large, rural and urban, are shopping for free ordnance picked off the DOD websites like shopping from a catalog, items that each originally cost taxpayers millions. Though these are highly technical machines, they come with no instructions, let alone training. In Concord, NH, councilpeople who try to speak up against these acquisitions are bullied by fear facts.
There are extensive clips from a quizzical Senate committee questioning Departments of Homeland Security and Defense on this program, and President Obama did sign an executive order in January 2015 banning local police from acquiring the most egregious military equipment, put tighter controls in place and set up a task force that released in May detailed recommendations for further restrictions. But as current as the documentary feels, the recent spate of police shootings brought sheriffs and their unions to the White House already asking for more, and NYC announced plans to spend $7.5 million to buy new ballistic vests and helmets for police officers.
Into the training gap are private contractors, like Dave Grossman, who the film bills as "America's #1 trainer of all U.S. local law enforcement for almost 20 years". To keep his customers coming back for seminars, he preaches a dangerous world out there, that sounds like we still live on the Western frontier, or at least on the set of The Walking Dead. His alarmist books are used at FBI and police training academies, and the aggressive exercises he runs at a headquarters in Orlando, FL, leaves the participants exulting and exhilarated (and up for great sex, they say). They start thinking of themselves as "warrior cops". This mentality gets scarier, even without any assumption of racism, in eager collusion with the private "persistent surveillance systems" that are already approaching the TV science fiction of Person of Interest and Minority Report, with unregulated use of drones and information collection, though this section feels added-on. Assuring them all, as Grossman says, "Good news – you have job security!" For documentary filmmakers, too, in gathering this disturbing evidence? The film's theatrical release will begin in New York on September 30, then expand across the country.
Two absorbing films from the Middle East keenly explore concepts of freedom, with male directors showing special sensitivity to girls and women.
STARLESS DREAMS
Iranian independent filmmaker and film professor Mehrdad Oskouei was working on a duo of documentaries about a male juvenile detention center on the outskirts of Tehran when he saw two shackled and handcuffed young girls, looking like his own daughter, taken behind high walls to a separate wing of the institution. Seven years of persistent requests to film inside finally led to a 20 day window for he and his small male crew to document the girls inside their rehabilitation center.
In the U.S. Oskouei is known more for his researched documentary Nose, Iranian Style (2005), but a workshop with American documentarian Frederick Wiseman in Amsterdam inspired his change in style to intensively look at and interview a few people in a limited space. Here, we meet a dozen teenagers in a large ward with bunk beds, barred windows, and a cement courtyard.
Enrobed in black head scarves and chadors, their stories are gradually revealed in moving interviews and exchanges between the girls. Charged with such offenses as robbery, drug abuse, and patricide, they are really victims of poverty. Most of the girls endured beatings and traumatic sexual experiences with a male relative – and beatings for alleging they were "bothered with". A drug addicted father forced a daughter into prostitution to support his habit; another girl stole food to feed her family. For many, their violent rebellion against their male abusers, sometimes to protect a younger sister, or running away, got them imprisoned. With one girl weeping herself to sleep and another insisting her name is "Nobody", his gentle (disembodied) voice in sympathetic interviews become something like therapy sessions for these neglected children with few calls and fewer visitors.
But his observant camera also watches as the girls revel in the joy of female solidarity, shared laughter, and affection, or when they get treats like art and puppetry classes where they can express themselves, share dreams, and celebrate holidays. You don't just cry at their pasts. When the abusing families pick girls up when they are released outside what now seem like protective gates, you cry for their futures.
Oskouei edited and distributed only to academic and cinéphile audiences to protect the girls' even more troubling secrets. From winning awards at the Berlin International and other film festivals, Cinema Guild will be releasing this wrenching documentary as part of Oskouei's trilogy with the boys at the juvenile detention center in It's Always Late for Freedom (2006) and The Last Days of Winter (2011).
In this U.S. premiere, the Syrian refugees desperately streaming away from civil war and to hope in Europe are seen unusually up close and personal.
Amidst political strife and chauvinism in Egypt, director George Kurian learned his music teacher/oud player Nabil Hilaneh was planning to leave with a group of other discouraged (middle-class, educated) Syrian exiles to be smuggled across the Mediterranean. His friend Rami, a computer specialist, agreed to take a camera, and with a few basic lessons, to film their odyssey, along with Angela, a TV reporter and journalist repeating her husband Najib's journey a month earlier; Afaf, a pharmacist; her son Mustafa, and Alia, a wife and mother of two. Their gung ho spirit of adventure in following the smugglers' directions to a beach in Alexandria, are quickly dampened when Afaf and Mustafa are taken in a police raid of the area.
Rami's footage captures how more of their careful preparations are swept over the boat, as water and food supplies don't make it through the longer-than-expected eight days (and nights) to get to Italy. Kurian was instrumental in sending out a SOS to ships to look for the group, and an oil tanker seen stopping for the woebegone little boat.
In the second half, Kurian interviews them from landing in Italy, in person and via cell and Skype, as they are first housed in temporary shelters. But then the group is separated into refugee hostels in five different countries and wait for permanent housing. (Surprise- the mother and son do make it out of Egypt, too.) The easiest trip seems to be for Angela as the train takes her to meet up with her husband in Belgium; then their struggle is how to continue their journalism careers. For all the unity of the European Union, the cultural differences are sharply drawn as Rami and Alia are sent to the Netherlands, Nabil to Germany, and Afaf and Mustafa to Sweden. As skilled and educated as they are, each now has to learn a new language, and has to navigate each country's varying employment and training rules, let alone the complicated requirements a refugee has to meet to retain housing in this colder climate. Periods of stasis and depression are relieved as the group and the director stay in contact. While Rami learns that the disruption of the civil war has out-dated his IT skills, Nabil is gratified that his musical talents are finally appreciated more than his dishwashing skills at a restaurant. (Oud master Rahim AlHaj has told of virtually the same experience, as a 1991 political refugee from Iraq coming to the U.S. in 2000, when he last year received a NEA National Heritage Fellowship, this country's highest honor in the folk and traditional arts.)
Refugee issues were also the subject of other programs in the festival. The documentary was preceded by two five-minute shorts, Malak and Mustapha, that followed the overwhelming experiences of two young children fleeing Syria with their families to scramble to Greece. "Desperate Journey: Europe's Refugee Crisis" featured a discussion with HRW Emergencies Director Peter Bouckaert and photographer Zalmaï, who accompanied HRW teams researching the crisis in several countries. Himself a refugee from Afghanistan to Switzerland, Zalmaï's photographs were exhibited in the Roy and Frieda Furman Gallery at the Film Society of Lincoln Center's Walter Reade Theater.
Though the Human Rights Watch Festival is known more for searing documentaries, I always appreciate when fiction features are included to bring to life real situations not easily filmed in real life.
THE HIGH SUN (ZVIZDAN)
The Human Rights Festival not only covers contemporary crises, but looks at the continuing reverberations from earlier violations of human rights. Over the past nine years I've been covering the festival, I've appreciated that it revisits the Balkan wars of the early 1990's between Serbs and Croatians that horribly split former neighbors with disintegration into ethnic cleansing, war crimes, and genocide.
Writer/director Dalibor Matanić creatively takes the humanistic long view of these impacts on neighboring rural villages with different lovers at three mirror points at hot summers in consecutive decades (with changing representative music). The same attractively appealing actors (Tihana Lazović and Goran Marković) are couples in unrelated roles, but the same family pressures, inevitable accusations, and recriminations:
In 1991, imminent war violently and tragically breaks apart the sensually languorous relationship between Serbian Jelena (Lazović) and Croatian Ivan (Marković). With echoes from past ethnic conflicts, her confused grandmother thinks the Nazis and their local allies have returned.
In 2001, emotional wounds are still as broken as the house of officious Serbian Natasha (Lazović) as she peremptorily adds to the to-do list of hunky Croatian handyman Ante (Marković), but these two could keep flirting through a longer film.
In 2011, enough time has passed for the town to host a hip collegiate rave, but the initial reluctance of city-returnee Luka (Marković) is still too matched by the simmering resentment of his Serbian ex Marija (Lazović) to make a belated separate peace with their son. His rom com-ish persistence is almost convincing, even if it's out of guilt. Anywhere in the world, in a lesson from every film in the festival, accepting guilt is an essential first step in reconciliation.
Winner of the Jury Prize at Certain Regard of the Cannes Festival where it was the first Croatian film to compete since Yugoslavia broke, among other international festival awards, and Croatia's submission for the Foreign Language Oscar, this lovely looking film was shot by director of photography Marko Brdar (also outstanding for the very urban Slovenian The Beat of Love) with a continuity of dappled sunshine, leafy horizons, and misty mountains to emphasize that the bitterness on the dirt road between segregated communities is only transitory. In trying to challenge his own family's negativity that gave into inter-ethnic hatred, this is the first film in Matanić's planned trilogy is the most optimistic for the possibility of love conquering all.
How unusual to have a fiction selection that was filmed just 70 blocks north of Lincoln Center in gentrifying Harlem. Passionately felt and enriched by authenticity in setting, characters, situations, conflicts, and solutions, director/co-writer Jamal Joseph and co-writer/star Daniel Beaty drew on their own, family, and friends' experiences in frankly looking at the crisis of incarceration and recidivism in the African-American community. Though having much in common with Kelly Duane de la Vega and Katie Galloway's new documentary The Return, this is strong, involving entertainment that also attests to Joseph's solid credits in commercial TV and movies, bolstered by dynamic acting from both familiar names and newcomers.
Beaty, in his first major movie role, effectively embodies Lance Ingram as he's released from years in prison and is determined to stay away from his former life in a gang by finding employment and an apartment. Even with his prison-learned skills in computer repair, achievement of those two basic goals is almost insurmountable, and could be seen to defeat most men. But as Lance (that it's short for Lancelot is a bit much) entrepreneurially and stoically navigates the shoals of temptation and discouragement, he's helped by colorful characters: a demanding supervisor of meal deliveries Yolanda (Selenis Leyva, of Orange is the New Black); a cranky senior citizen client Miss Maddy (the incandescent Loretta Devine); and an old friend now managing a barber shop JoJo (the always classy Omari Hardwick, currently of Power). The multi-talented Joseph also wrote the music and several songs heard on the soundtrack.
With Joseph, who is a former Black Panther and is a film professor at Columbia University, quoted in interviews that one in three children raised in Harlem will spend time in prison, the story also muscularly emphasizes the negative impact on sons raised without fathers to keep them off the streets, as Lance takes on a paternal role for a boy attracted to the dead-end gang life. (Young Khadim Diop makes an impressive debut as Maddy's grandson.) With rising tension, this is eyes clear that dialogue and nonviolence may not always be the most determinative choice.
While still making the festival circuit, this should be a definite contender for theatrical or other platform distribution: an intelligent, politically astute film dealing realistically with an important issue, supported by a fine African-American cast portraying non-stereotyped individuals, and an attention-keeping story line. Kudos to the festival for including an unusual selection among this year's roster of excellent nonfiction and fiction films.
Richard Lester Retrospective at Lincoln Center
Published on Friday, 14 August 2015 14:31
Written by Jack Angstreich
The summer schedule of the Film Society of Lincoln Center reached its apotheosis this month with it's long-gestating, comprehensive retrospective of the films of Richard Lester — several shown in excellent, 35-millimeter prints on the magnificent Walter Reade Theater screen — which ran from the 7th through the 13th and was curated by Gavin Smith, the editor of Film Comment.
The underrated director's work was showcased in a series at the Museum of the Moving Image in the 1990s but in a much smaller selection. Only a few films were left out of the current program: his first feature, It's Trad, Dad! (screened at the Film Society in a rock 'n' roll series a few years ago); The Mouse on the Moon, a sequel to the popular Peter Sellers vehicle, The Mouse that Roared; The Ritz, an adaptation of the Terence McNally play; Superman II; Superman III; the wonderful, unsung Finders Keepers; and his last film, the Paul McCartney rockumentary, Get Back.
Highlights of the series included the titles described below, all shown in beautiful 35-millimeter prints at the Walter Reade.
The director's almost never screened, early, silent, slapstick short made with and starring Peter Sellers and Spike Milligan, the rarely screened The Running Jumping & Standing Still Film displays the madcap sensibility that would flower in Lester's features.
The dazzling, exhilaratingly creative The Knack …and How to Get It, one of Lester's supreme works, stunningly photographed by the incomparable David Watkin, and starring Michael Crawford and Rita Tushingham, as wonderful as they have ever been, and also featuring a superb performance by Ray Brooks as the story's resident Lothario. This was previously screened at the Film Society in a series devoted to Woodfall Film Productions. A further bonus here is the chance to glimpse early appearances of Jacqueline Bisset, Jane Birkin and Charlotte Rampling, all at their most ravishingly gorgeous.
The brilliant and rarely shown thriller, Juggernaut, was shot by Gerry Fisher and features an astounding cast including Richard Harris, Omar Sharif, David Hemmings, Anthony Hopkins, Shirley Knight, Ian Holm, Roy Kinnear, Freddie Jones, Cyril Cusack, Michael Hordern and Roshan Seth, among others.
The equally rare Royal Flash is an enjoyable romp set in Victorian era Europe, adapted from a novel by George MacDonald Fraser, with brilliant performances by Malcolm McDowell, Alan Bates and Oliver Reed.
The entertaining Butch and Sundance: The Early Days, another rare title, was Lester's second film made in Hollywood — the extraordinary Petulia was his first — and was pioneering as a "prequel" — in this case to George Roy Hill's popular western, Butch Cassidy and the Sundance Kid starring Paul Newman and Robert Redford — before that format had become a commercial standard in the industry. The casting of Tom Berenger — who gives a splendid performance — and William Katt cannily recalls the iconic faces of Newman and Redford, while the film, shot by László Kovács, sports a roster of excellent supporting actors including Peter Weller, Brian Dennehy, Christopher Lloyd, John Schuck, Jeff Corey, Jill Eikenberry, Vincent Schiavelli, as well as Michael C. Gwynne, who gave a delightful introduction to the screening, recounting anecdotes from the shooting.
The powerful, politically astute, ultra-rare Cuba — also shot by Watkin — a romantic drama set on the eve of the Cuban revolution, also features a remarkable cast, starring a dashing Sean Connery doing some of his best work, along with a winsome Brooke Adams — the one weak link here, unconvincing as a strong, erotic presence — along with a handsome Chris Sarandon, Martin Balsam, Walter Gotell, Hector Elizondo, Jack Weston, Denholm Elliott, and Lonette McKee. It was shown in a newly struck print.
Music & Minorities: The 2015 Human Rights Watch Film Fest
SXSW Review: 6 Years
SXSW Review: The Frontier
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Carriera

Club
Ad agosto 2018, Barinovs è stato ingaggiato dai norvegesi dello Stålkameratene, compagine militante in 3. divisjon. Il 25 agosto ha effettuato il proprio esordio in squadra, schierato titolare nella sconfitta per 1-4 subita in casa contro il Sortland. Il 31 agosto ha realizzato le prime reti con questa maglia, siglando una doppietta nel pareggio per 2-2 maturato sul campo dello Skjervøy.

A settembre 2019, Barinovs è passato allo Junkeren. Ha disputato il primo incontro in squadra il 22 settembre, venendo impiegato da titolare nella sconfitta per 6-1 subita in casa del Fløya.

Statistiche

Presenze e reti nei club
Statistiche aggiornate al 17 novembre 2021.

Palmarès

Club

Competizioni nazionali

Ventspils: 2011, 2013, 2014

Ventspils: 2010-2011, 2012-2013

Note

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


Step is adaptive for ducts, pipes and cable trays. You are able to use the function in plan views, 3D views and sections.
Step helps you go vertical or horizontal along a certain element. To make the dialog box visible you need to pick two points on the element that is going to change.
The dialog box exists of two ribbons; Vertical and Horizontal.
Both ribbons exists of two panels and a number of buttons.
Route – Make the element go over or under the selected elements drawn path.
Angle – Decide the angle of the fittings.
Type – The function detects the used type. You are able to change in the drop down menu.
Gap – The default offset of the step is the diameter/height of the element. The Gap parameter sets an additional offset to the step.
The Offset panel lets you decide the exact offset from the elements reference level.
Top – The top offset from the reference level.
Center – The center offset from the reference level.
Bottom – The bottom offset from the reference level.
Hides the dialog box to make it able for you to pan, zoom and orbit in the view. It is also possible to switch between already opened views.
If one or more objects don't clash with the original element, by choosing Add Element you are able to include these objects as well. Don't forget to click on Finish in the options bar when the selection is set.
Remove clashing objects from the step to exclude them from the selection set.


text:
Q: Using Enum.GetValues in T4 template not working I have to following .tt template :
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I will get the following error:

Running transformation: System.IO.FileNotFoundException: Could not
load file or assembly 'System.Runtime, Version=6.0.0.0,
Culture=neutral, PublicKeyToken=b03f5f7f11d50a3a' or one of its
dependencies. The system cannot find the file specified. File name:
'System.Runtime, Version=6.0.0.0, Culture=neutral,
PublicKeyToken=b03f5f7f11d50a3a'    at
Microsoft.VisualStudio.TextTemplating4D7E7108009F697C7036AA3982FCAC502862F98EAAECCE320567876825F6A2D8CB866B97B562037BD24FB0BF58428936B28EDCD4EAEBA43FDAE108D3C1E0E59F.GeneratedTextTransformation.TransformText()
at System.Dynamic.UpdateDelegates.UpdateAndExecute1[T0,TRet](CallSite
site, T0 arg0)    at
Microsoft.VisualStudio.TextTemplating.TransformationRunner.PerformTransformation()

which seems to mean the System.Runtime could not be found.

A: The below code works for me in Visual Studio 2022 in a Net6 project.
What VS version/project type are you using?
<#@ template debug="true" hostspecific="true" language="C#" compilerOptions="/langversion:10" #>
<#@ assembly name="System" #>
<#@ assembly name="System.Runtime" #>
<#@ assembly name="System.Core" #>
<#@ import namespace="System" #>
<#@ import namespace="System.Runtime" #>
<#@ import namespace="System.Linq" #>
<#@ import namespace="System.Text" #>
<#@ import namespace="System.Collections.Generic" #>
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    }

#>
<#+
    enum MyEnum {
      Red,
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#>

redpajama_set_name: RedPajamaStackExchange


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engineering and Management) Magnus Hall, President and CEO Holmen, (Industrial Engineering and Management) Håkan Eriksson, chief scientific officer Ericsson, (Applied Physics and Electrical Engineering) Åke Svensson, former CEO Saab, (Applied Physics and Electrical. You can download the theme here. Ill also be applying some of the same edits to the Desktop Chaos theme (since theyre 90 the same). Ive added in Gravatar support, custom category page and dynamic sidebars to include all the widget you want (cant guarantee theyll all look good though). Zatitite domen sa nazivom svoje firme, proizvoda ili usluge registracijom eljenog domena kod Loopie. The next release will have threaded comments, an updated design, and whatever else I can squeeze. LiTH focuses its research and education in the areas of information technology, industrial engineering and management, materials technology, biomedical engineering, applied physics, production engineering and electronics. New files are located below to download: Please leave the footer links and logos intact if used. Posted under Default, Design, Miscellaneous Debris, Other News, Photography, Uncategorized, Wordpress 21 Comments ». Edit or delete it, then start blogging!
Puna kontrola uz LoopiaDNS LoopiaDNS Vam omoguava da sami doro lund Sverige administrirate i upravljate svim svojim domenima na jednom mestu. 3.420,00 RSD.104,00 RSD Naruite.tech Novo! If its on a platform outside of these I apologize, but Im really no help at all. The Institute of Technology at Linköping University, or, tekniska högskolan vid Linköpings universitet (formerly, linköpings tekniska högskola, LiTH is the faculty of science and engineering of, linköping, university, located in, linköping and. Proitajte vie o LoopiaDNS » Hosting i sajt Ukoliko izaberete Loopiu za Vaeg dobavljaa hosting usluga, moi ete da otvorite e-mail, blog ili web prodavnicu samo jednim klikom.
Kod nas moete registrovati sve eljene domene, a naa tehnika podrka Vam stoji na raspolaganju ukoliko Vam je potrebna pomo. Available FOR sale from thursday 6 september 2018, available FOR sale from thursday, available FOR sale from thursday, subscribe to Søstrene Grenes newsletter, the newsletter is a service to all those who wish to receive updates on new collections and new catalogues directly via email. News 97 Comments notepad Chaos theme version 2 coming soon. Notepad Chaos.1 Coming Soon, may27, im doing a round of fixes and updates for this theme which should be live here soon. Desktop Chaos : posted under. Naruite.SE.370,00.644,00 RSD, naruite.online Novo! This is your first post.


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Documentary About Bayou La Batre Wins Regional Emmy
Bayou La Batre has seen its fair share of natural disasters and other tragedies in recent years. And now, this small town's perseverance has inspired an Emmy-winning documentary.
The film, "In The Path of the Storms," which tells the story of the small town on Alabama's Gulf Coast, won an Emmy this summer for Outstanding Achievement for the Southeast Chapter of the National Academy of Television Arts and Sciences.
Executive producer Mike Letcher said the 2011 film is based off a book with the same title and written by University of South Alabama writer-in-residence, Frye Gaillard. It was produced by the University of Alabama's Center for Public Television and co-produced by South Mobile County artists Sheila Hagler and Peggy Denniston.
"For nearly 300 years, this has been a place unto itself," the narrator says in the film's trailer. "It's self-contained, self-sufficient. It's a place where people don't get rich. They get by."
Both the book and the documentary feature a diverse cross-section of people who live and work in Bayou La Batre, many whose lives were impacted by Hurricane Katrina in 2005 and the BP Oil Spill in 2010.
"After reading the book, I saw [the film] more as a history and more of a cultural profile," Letcher said. "Because there are several themes there, and one of them is that Bayou la Batre has always been an entry point for immigrants to find work."
Immigrants have played a continued role in Bayou La Batre's history. Many original transplants came from Canada's French provinces. Then, in the 1920s and 1930s, Eastern Europeans arrived. In the 1970s, Southeast Asian migrants came.
"It was an entry point for people who work very hard and who don't have anything but the sweat of their brows to work with," Letcher said.
One part of the film tells the story of Heang Chhun, who left Cambodia to escape the Khmer Rouge but whose wife and child were killed during their attempt to leave. In Bayou La Batre, he has made a living for himself and has built a Cambodian community around him.
"I think that people continue to persevere, they love the community, they love the culture and they love the water," Letcher said. "It's what they know, it's what they love, and they just keep on."
When the film was released, Letcher showed the film at the local high school, one for a school assembly and an evening screening for the rest of the community. He said he hopes the film is something the people in Bayou La Batre take some pride in, and he hopes they understand that, in some small way, the Emmy demonstrates how others outside their community are taking pride in the area's culture.
"I think it is somewhat threatened," he said. "I think to recognize the value of it and what might be lost if it goes away is kind of what the film's about, and I hope it at least encourages a little bit some of the people in the community that someone does see the value of their culture, and hopefully they can hold onto it."
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Fairfax County is fortunate to have hundreds of miles of stream, many of which are protected on park or county land. However, development in the streams' watersheds has caused damage. The Soil and Water Conservation District helped pioneer natural channel design stream restoration locally, which is now used across the county to prevent pollution loads downstream. These techniques may be used on a smaller scale by residential homeowners and communities to restore and stabilize streams.
Land development through urbanization plays a significant role in changing the hydrologic balance in our watersheds. Impervious surfaces such as rooftops, asphalt roads, and concrete replace the trees, shrubs, groundcover, and soil that retain and filter stormwater. The net outcome of increased imperviousness is a significant increase in surface runoff.
Streams, the main recipients of increased runoff, make room in the channel by eroding the banks and bed. The result is a wider and deeper channel. As the stream erodes vertically and laterally, sediment and attached nutrients wash downstream. Even in a healthy, stable stream, some erosion and deposition can occur during major storm events. However, when runoff in a watershed increases dramatically, erosion and deposition become excessive.
NVSWCD promotes the rehabilitation of streams through restoration or stabilization techniques. Watershed planning in advance of development can prevent stream problems. However, in the absence of appropriate and consistent planning, streams are likely to degrade. In Fairfax County, many streams have suffered as a result of upstream development. The District works with County, state, and federal agencies and homeowner associations to identify streams with economically feasible rehabilitation potential. Once streams are identified, the District collaborates with these agencies to do the restoration or stabilization work. The District provides project coordination, grant writing and support, technical advice, and publicity for the projects.
In 2013-4, the Wakefield Run Stream Restoration, facilitated by the Soil and Water Conservation District, was completed. Click on the image on the left to see the full-size project poster.
In summer 2007, a NVSWCD-facilitated partnership restored a 775-foot segment of Little Pimmit Run in McLean. Homeowners adjacent to the stream initiated the primarily privately-funded project. Steep-walled and undercut stream banks and degraded riparian habitat characterized the stream prior to the project. Rapid erosion (~2 ft/yr) and bank instability threatened the Fairfax County parkland adjacent to the stream along with the backyards of several homeowners. The project's designers, including conservation district staff, applied the principles of natural channel design, an approach that takes into account naturally-occurring stream processes such as flooding and sediment transport as well as stream ecology. The design they developed provides habitat, protects property, discourages erosion, protects water quality and facilitates recreation along and within Little Pimmit Run. Learn more about the Little Pimmit Run project.
Previous stream restoration projects include Kingstowne Stream (2011, 1999) among others.


The astounding pics below, is part of Basement Window Wells document which is classed as within Window, basement window wells, and posted at October 21st, 2014 04:15:29 AM by Admin.
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factory turned out to be caused by an "almost forgotten disease," a new study from Poland finds.
The outbreak occurred in Poland in July 2012, when 16 employees developed "intensely" itchy rashes on their torsos, arms and legs, the researchers wrote in the report. A month after the outbreak began, a team of researchers was called in to investigate the cause.
So how did investigators in Poland crack the case?
Although all of the factory workers reported similar symptoms, none initially thought that the rashes were caused by something they were exposed to at work, the researchers said. Indeed, because there is a delay of several hours between the time the mites bite a person and the time the rash appears, it's common for people with these mites to not realize what triggered their rash, the researchers wrote.
Because the workers' family members didn't develop rashes, the researchers concluded that the cause wasn't contagious.
So the researchers investigated the substances that the workers handled in the factory: Were any new materials being used? The employer told the researchers that their manufacturing methods hadn't changed, according to the study.
Images of one of the factory worker's rashes. Reproduced with permission from JAMA Dermatology. 2017. 10.1001/jamadermatol.2017.0323.
But the researchers got a clue when, 44 days after the first outbreak, two more workers developed rashes. It turned out that both during the initial outbreak and the second, smaller incident, the workers were handling an herb called Helichrysum arenarium, according to the report.
When samples of the herb were sent to a lab for testing, researchers discovered the mites.
But a question remained: Why did the mite outbreak occur when it did, even though the factory had been working with the herbal supplement for decades? Indeed, many of the workers who had rashes had worked with the supplement in the past and the diagnosis "initially raised many doubts," the researchers wrote.
One major change stood out: In previous years, the workers had handled the herb in the winter months, but in 2012, they handled it in July, according to the study. Previous research suggested that the mites are more common between May and August, the study said.
In addition, the factory had stopped using a pesticide called methyl bromide, the researchers said. This pesticide, which is a gas, was banned in the United States in 2005 because it was contributing to the depletion of the ozone layer, according to the National Pesticide Information Center.
The researchers recommended that the factory be fumigated with another pesticide, phosphine gas, to kill the remaining mites.
Most of the workers' symptoms went away after two weeks, the researchers said.


Nothing absolutely nothing beats breakfast on the side of the motorway in mainland Europe. the One euro espresso that comes in that weird brown plastic cup is probably the best coffee you can get your hands on, that with a ham and cheese baguette is the best meal you can have, breakfast, lunch or dinner it really doesn't matter. I recommend it to any!
Thats exactly what amy and me did the other day, we said screw it to the croissant, fruit and coffee machine, we grabbed a spicey salami & cheese baguette at the local auto grill and a coffee to wake us up, not only did they warm it up for us but they also gave us cutlery, well a spoon to stir sugar into an espresso, but cutlery is still cutlery. they even sold big versions of junk food, from 5 litre bottles of popcorn to massive tubes of pringles. its was almost dreamy.
B084 – nothing beats a beach day!
We both woke up pretty early today and was nackered but instead of going back to bed we decided to head to a beach, eat ice cream and swim, we found this small beach in this cove no idea what it was called. the Amalfi coast is weird, there are thousands of small beaches dotted along the coastal road and you really have to look out to find out. any way about 100 meters away from this beach we found was this kind of secret beach which you could only get to if you swam across, we wanted to take the go pro and get a picture but we forgot to charge it so had no way of getting a photo!
Anyway after swimming over there and then chilling in the water it was time for amy todo some serious work on her tan and for me well I just had to try and find and shade I could and do my best not to burn. which didn't work, I fell asleep in the sun and now look like a really ripe tomato.
anyway heres some snaps from our day.