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HomeNews ReportsTamil Nadu: Madras HC intervenes, govt withdraws order asking only Hindu temples to pay...
Tamil Nadu: Madras HC intervenes, govt withdraws order asking only Hindu temples to pay Rs 10 crores to CM's Coronavirus relief fund
The Tamil Nadu government had asked 47 Hindu temples to transfer Rs 10 crores to the CM's Relief Fund to fight Chinese coronavirus while ordering the distribution of 5,450 tonnes of free rice to over 2,985 Mosques.
Tamil Nadu CM Palaniswamy, representational image
The Hindu Religious and Charitable Endowments (HR&CE) department of Tamil Nadu on May 4 took back its order dated April 22 that had asked Hindu temples to transfer Rs 10 crores to the State to the Chief Minister's Coronavirus Relief Fund. This order came after the Madras High Court found it 'not legally tenable. While withdrawing the order, the HR&CE Department said that it was withdrawing the earlier order for 'administrative reasons'.
Due to pressure & prompt legal action of Hindu society, Tamilnadu Govt. withdraws GR of forcefully taking ₹.10 Crore exclusively from Hindu Temples. Govts sud desist frm such anti-Hindu actions in future : @MParandeVHP pic.twitter.com/W9awKZKAuM
— Vishva Hindu Parishad -VHP (@VHPDigital) May 5, 2020
While taking up three petitions against the 22 April HR&CE order for hearing, Madras High Court's public interest litigation (PIL) bench comprising Justices Vineet Kothari and Pushpa Sathyanarayana observed that the order was 'untenable'.
The three people who had filed the petition against the HR&CE circular were TR Ramesh, President, Hindu Temple Worshippers Society, Tamil daily Dinamalar editor RR Gopaljee and one other person. Maintaining that it has found merit in the argument of the counsel of the three petitioners, the HC bench adjourned the matter to May 8 and directed M Karthikeyan, counsel for the HR&CE department, to produce the relevant order passed by the Commissioner of the department, withdrawing the circular.
"In the meanwhile, the department shall not act upon the circular, against the temples included in the said circular," the bench said.
The Tamil Nadu government, in turn, on Monday, informed the Madras High Court that it has decided to stop a move of utilizing surplus funds lying with the Hindu Religious and Charitable Endowments (HR&CE) department for COVID-19 mitigation efforts and also to withdraw the circular in this regard.
TN govt withdraws direction to 47 temples to give Rs 10 crore of surplus income to CM relief fund
47 temples have to pay rupees 10 crores: Tamil Nadu government order
The Hindu Religious and Charitable Endowment Dept (HR & CE) of the ruling All India Anna Dravida Munnetra Kazhagam (AIADMK) government in Tamil Nadu had directed 47 temples to give Rs 10 crore of surplus funds to CM relief fund.
Tamil Nadu govt order
HR&CE Principal Secretary K Panindra Reddy had directed all officials working under him in 47 temples including Madurai, Palani, Thiruchendur, Tiruttani, Thiruvannamalai, Rameswaram, Mylapore, and others to contribute Rs 35 lakhs each from the surplus funds towards feeding the poor due to lockdown. Other temples have been directed to give an amount ranging from Rs 15 lakhs to 25 lakhs. All 47 temples were ordered to transfer the surplus fund of 10 crores to CM Corona Relief fund.
This move had come under severe criticism as questions were raised on Edappadi K Palaniswami government's prejudice against Hindus'. Dissent grew as people criticised the government for not demanding the same from the Christian and Muslim institutions, which were receiving government grants yearly.
Gives free rice to Mosques, but asks Hindu Temples to pay 10 crores
As part of its appeasement politics, the ruling AIADMK government in Tamil Nadu had ordered the distribution of 5,450 tonnes of free rice to 2,985 mosques of the state on April 16 in the month of Ramzan, so that those who were keeping Rojas would not suffer. This rice at Rs 21/kg will cost the Tamil Nadu government little over Rs 11 crore.
Earlier the Madras High Court had rejected the petition, refusing to interfere with the Tamil Nadu government order to distribute free rice to mosques in the month of Ramzan.
At the beginning of the festival of Ramzan, the Tamil Nadu state government announced a major benefit to Muslims. The Tamil Nadu government had announced that 5,450 tonnes of rice would be given to 2,895 mosques this year for preparing porridge.
Unlike Muslims, Hindus don't get anything in festivals
No similar help or plan is given to prepare offerings to the village deities of Hindus during Chaitra and other months. The Tamil Nadu government collects more than Rs 3000 crore per year from Hindu temples through Hundi collection, offerings, darshan tickets, special program fees, etc., while only Rs 4-6 crores are given for maintenance. Rest 2,995 crore rupees remain with the government.
At the same time, Srivilliputhur Vaishnavit Math Chief Sadgopa Ramanuj Jiyar urged the Tamil Nadu government to spend the temple money to give to the priests and servants. Dr. Krishnaswamy, the head of Puthia Tamizhagam has appealed to the CM to refund the amount of Rs 10 Crores received from the temples.
Searched termscoronavirus donation, Tamil Nadu Mosques, Tamil Nadu temple 10 crores
Appeasement politics
Muslim Appeasement
ramzan
Tamil Nadu Government
temple control


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Sudan Gets New Darfur Crisis Mediator
Some Sudanese are reportedly expressing optimism after the new chief mediator visited the country yesterday with a new mission to finding a solution to the Darfur crisis. Djibril Bassole, who is Burkina Faso?s foreign minister, is expected to begin what some are describing as a Herculean task of reigniting the stalled peace talks and ensuring a cessation of hostilities between the rebels and Khartoum. Bassole reportedly said his mission and priorities would be defined by Sudanese, adding that there was need to encourage dialogue that would lead to finding a comprehensive political solution to the Darfur crisis. But some political analysts say Bassole?s lack of knowledge of any Sudanese language or of the area would be challenging.
Rashid Abdi is political analyst with the International Crisis Group in Kenya. He tells reporter Peter Clottey from the capital Nairobi that the standoff between Khartoum and the International Criminal Court would play a significant part in the negotiations.
?The first thing I would say about the visit is it comes at a very interesting time, when there is a standoff between the ICC and the Sudanese government over the plan by the ICC to indict General Bashir for war crimes in Darfur. Now we have been seeing the Sudanese very angry beginning a diplomatic offensive in the Arab-League, at the African Union (AU), and I think the fact that there is now a new envoy for the Darfur peace process who probably has a linguist problem, he doesn?t t know the country very well. I think it is highly optimistic to argue that much would come out with this new initiative,? Abdi pointed out.
He said the new dynamics of the talks would be challenging.
?The process is now changed on a new factor, which has actually become I think the biggest complicating factor in the whole Darfur issue, which is the current indictment, which hangs over general Bashir. I think the Sudanese would be inclined to not actually make any headway or any progress in the peace process in Darfur. They would be solely paying for more time in order to either have the indictment lifted or something,? he said.
Abdi said it would be intricate to predict the success of the new mediator.
?It is really difficult to see how Mr. Bassole?s mission can really succeed or even make progress in the light of the current standoff between the international community and the Sudanese government,? Abdi noted.
He said Khartoum does not want to be seen as antagonistic towards the international community.
?The Sudanese basically wouldn?t want to antagonize the international community. They are playing with caution. If you hear the language of their diplomats in the AU and the Arab-League, the message is that we are still engaged in the process of finding a political settlement in Darfur, despite our unhappiness with the possibility of President Bashir being indicted. Yet in the country itself, throughout the media and on the street level, you would find a great level of anti-UN feelings and generally an Anti-Western atmosphere being whipped up,? he said.
Abdi said there seems to be lack of cohesion with Khartoum?s diplomacy and the internal political dynamics.
?There is disconnect between the discourse of diplomacy and the internal discourse. So, I think unless that problem of the ICC indictment is somehow resolved amicably for both sides, things would be challenging,? Abdi noted.
He said the ICC wouldn?t want allegations of crimes against humanity to go unpunished.
?I can see the dilemma. There was an issue of impunity of Darfur. And justice has to at least be seen to be done in case of Darfur. But at the same time that has to be tempered by the reality that Khartoum has to be brought on board for the peace process in Darfur to work. And the ICC policy looks like it is on a collision course, and there is a possibility that it can unravel the whole process,? he pointed out.
Darfur's Tangled Conflict Wages On
The five-year-old conflict between Khartoum and rebel forces in Sudan's Darfur region continues to worsen with increased banditry, rebel infighting, and attacks on civilians and joint United Nations-African Union peacekeepers.In 2006, there were two rebel groups in Darfur. They were the Sudan Liberation Movement/Army, or SPLMA, and the Justice and Equality Movement. Only the SPLMA signed a wealth and power-sharing peace agreement…
Sudanese Officials Meet With AU on ICC Charges
Sudan is trying to rally diplomatic support for rejecting war crimes charges against President Omar al-Bashir by the International Criminal Court. As Derek Kilner reports from VOA's East Africa bureau in Nairobi, Sudanese officials presented their objections to the African Union Peace and Security Council in Addis Ababa.Following the decision by the International Criminal Court's chief prosecutor to seek the arrest of Sudanese President Omar al-Bashir…

redpajama_set_name: RedPajamaCommonCrawl


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L'elezione del presidente del Senato del 2006 per la XV legislatura della Repubblica Italiana si è svolta tra il 28 e il 29 aprile 2006.

Il presidente del Senato uscente è Marcello Pera. La presidenza provvisoria, secondo il regolamento del Senato, spetta al senatore più anziano di età e dunque a Rita Levi-Montalcini, la quale però rinuncia a tale incarico per motivi di salute; ricopre pertanto il ruolo di presidente provvisorio il senatore più anziano seguente, il presidente emerito della Repubblica Oscar Luigi Scalfaro.

Presidente del Senato della Repubblica, eletto al III scrutinio, è Franco Marini.

Informazioni generali

I due principali candidati alla carica di presidente del Senato per la XV Legislatura sono Franco Marini, ex segretario nazionale della CISL e del Partito Popolare Italiano, attuale segretario organizzativo della Margherita, sostenuto dall'Unione, e Giulio Andreotti, ex presidente del Consiglio e senatore a vita, sostenuto da una parte della Casa delle Libertà: la Lega Nord, al I scrutinio, punta sull'ex ministro delle Riforme Roberto Calderoli, ma annuncia altresì che intende votare, dal II scrutinio in poi, per il senatore a vita Giulio Andreotti nel caso ci sia la possibilità, verificata dopo il I scrutinio, di eleggerlo.

Peraltro, dopo la sconfitta di Andreotti la Padania uscì con una foto del senatore a vita in prima pagina sormontata dal titolo mordace "Mio nonno in carriola. Meno male che doveva spaccare il centrosinistra...".

Solitamente il presidente provvisorio dell'Assemblea non votava ma in questa occasione visto i numeri molto risicati della maggioranza, Oscar Luigi Scalfaro decide di votare ugualmente.
L'esistenza di due senatori con cognome identico (Marini) costrinse i senatori a scrivere anche il nome del candidato sostenuto. Questo causò grandi problemi. Comparvero anche schede che riportavano il nome Francesco Marini che non esisteva al Senato; altre schede riportarono il nome di Marini con la data di nascita; un voto andò al senatore Giulio Marini, beffarda crasi tra i due candidati più votati. Nei primi scrutini a Franco Marini mancavano tre voti per essere eletto, solo con l'intervento di Giuseppe Fioroni che escogitò un piano di elezione si riuscì a portare a compimento l'elezione di Franco Marini.

Pare infatti che le modalità di voto siano state suddivise per appartenenza politica tra DS, Margherita, UDEUR: ad un gruppo era stato chiesto di votare "Franco Marini", ad un altro di scrivere "Marini Franco", ad altro "Sen. Franco Marini" (e tutte le espressioni vennero lette precisamente dal presidente Scalfaro), in modo da rendere verificabile il rispetto degli accordi.

L'elezione

Preferenze per Franco Marini
Compreso anche il II scrutinio annullato.

28 aprile 2006

I scrutinio
Per la nomina è richiesta la maggioranza assoluta dei componenti dell'Assemblea.

Poiché nessun candidato raggiunge il quorum richiesto, si procede al II scrutinio.

II scrutinio (annullato)
Per la nomina è richiesta la maggioranza assoluta dei componenti dell'Assemblea.

I dati riportati sono ufficiosi: per la mancata intesa tra i segretari scrutatori sull'attribuzione dei voti contenuti in tre schede, i risultati non vengono ufficializzati e la votazione è dichiarata nulla con conseguente ripetizione della stessa.

II scrutinio (convalidato)
Per la nomina è richiesta la maggioranza assoluta dei componenti dell'Assemblea.

Poiché nessun candidato raggiunge il quorum richiesto, si procede al III scrutinio.

29 aprile 2006

III scrutinio
Per la nomina è richiesta la maggioranza assoluta dei presenti.

Risulta eletto: Franco Marini (DL)

Bibliografia

Voci correlate
 Elezione del Presidente della Camera del 2006

Presidente del Senato
2006

redpajama_set_name: RedPajamaWikipedia


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A business for businesses
U of O students provide offline businesses with customer feedback solution
Spencer Van Dyk | Fulcrum Staff
Photo courtesy of Martin Kratky-Katz
TWO UNIVERSITY OF Ottawa students have created a way for offline businesses to enjoy some of the perks of an online model.
Martin Kratky-Katz and Artem Abramov founded a new business called MicroMetrics in May. The company helps other businesses receive instant customer feedback by offering survey software and tablets to stores. These businesses are able to reward customers on-site for filling out the questionnaire and also provide instant customer feedback to their business partners.
"I was working on my second degree and was working at a local company at the time, so I was dealing with online survey software a lot," Kratky-Katz said. "What I realized is that a lot of the customer feedback polls were for brick-and-mortar businesses—offline businesses with physical locations. We thought that if we could allow them to collect feedback on the spot and then provide rewards to their customers on the spot, they'd have a lot better response rate."
The company is largely funded by Startup Garage, a U of O initiative geared toward supporting Ottawa's student entrepreneurs. This summer, Startup Garage awarded a total of $60,000 divided amongst selected projects.
"It's basically an incubator," Kratky-Katz said.
After graduating from the U of O in 2008 with a major in Russian and a minor in German, Kratky-Katz took time off to figure out what he wanted to do. In that time, he realized his love for technology and returned to the U of O for a second degree in computer science. He and Abramov came up with the idea for MicroMetrics back in February. Kratky-Katz manages the sales, business development, and project development, while Abramov handles the finance and business aspects.
"We're building a new program from scratch," Kratky-Katz said, "but it's modeled after an existing model."
MicroMetrics places tablets in stores along with a software program to create and administer surveys. Questions are drafted in large part by the businesses themselves, but templates are available. Once customers complete the surveys, feedback is available to the business instantly. The company also provides customers with rewards by entering their names into draws and offering discounts.
Kratky-Katz said it will take some experimentation to decide which businesses MicroMetrics caters to, but that the company is hoping to work alongside major franchises in the future
MicroMetrics is online at micrometrics.co
MicroMetricsSpencer Van DykStudent businessUofO Alumni
More sugar babies looking for sugar daddies
The Las Vegas-based website acts as a platform for young men or women (sugar babies) to seek a relationship with older and wealthier men or women (sugar daddies and mommies).
City hall hosts new crop of U of O entrepreneurs
Isabel Graham
On Sept. 8, young entrepreneurs from across the city, including many University of Ottawa students and alumni, joined members of the community at city hall to pitch their business models as part of the seventh annual Startup Garage Rally.
Semifinal success
"We've been preparing for this since last year, so it is an amazing feeling knowing that we have a chance to go back to nationals."


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Q: Redefine Variable in Function For a Certain Part I have the following code:
var $name=prompt("In order for this page to work, we just need a piece of information. Please enter your first name.");
var $age=prompt("Please enter your new age.")

function startSong() {
    var a = 'Happy birthday to you';
    $("#btext").html(a).fadeIn(2000);
    window.scrollBy(0, 200);
    $("#btext").fadeOut(2000);
    $("#btext").html(a).fadeIn(2000);
    a = 'Happy birthday to you, ' + $name;
    $("#btext").fadeOut(2000);
    $("#btext").html(a).fadeIn(2000)

}

I want it to first print out 'Happy birthday to you' twice, and then print out 'Happy birthday to (name)'. However, it seems to skip right to the redefinition of the variable.
Here is the relevant HTML:
<button onclick="startSong()">Now, we all want to sing you Happy Birthday! Go on and click this button!</button>

Thanks!

A: $("#btext").html(a) calls and the assignments to a do not wait for the preceding fade effects to finish. So all of those statements are going to happen even though the effects previously set have not yet finished. They are asynchrounous operations
the fade* calls can be passed a callback to let code run when the effect has finished. Put your code in the correct fade* callbacks to get your expected operation:
$("#btext").html(a).fadeIn(2000,function(){
  window.scrollBy(0, 200);
  $("#btext").fadeOut(2000,function(){
    $("#btext").html(a).fadeIn(2000,function(){
      //and so on
    });
  });
});

Obviously this can lead to callback hell
So you can alternatively queue your actions in between the fade* effects:

function startSong() {
  let btext = $("#btext");
  let a = "Happy birthday to you";
  let $name = "Stackoverflow";
  btext.html(a)
       //internally adds the effect to the fx queue
       .fadeIn(2000)
       //internally adds the effect to the fx queue
       .fadeOut(2000)
       //adds the code to change the html to fx queue
       //executes when the previous queue item is done
       .queue(function(next) {
         btext.html(a);
         //call next to let the queue advance to the next item
         next();
       })
       .fadeIn(2000)
       .fadeOut(2000)
       .queue(function(next) {
         a = 'Happy birthday to you, ' + $name;
         btext.html(a);
         next();
        })
        .fadeIn(2000);
}
#btext {
  display:none;
}

<button onclick="startSong()">Now, we all want to sing you Happy Birthday! Go on and click this button!</button>

A: You need to use callbacks to delay each fadeIn/fadeOut until the previous one finished.

var $name = prompt("In order for this page to work, we just need a piece of information. Please enter your first name.");
var $age = prompt("Please enter your new age.")

function startSong() {
  var a = 'Happy birthday to you';
  $("#btext").html(a).fadeIn(2000, function() {
    window.scrollBy(0, 200);
    $("#btext").fadeOut(2000, function() {
      $("#btext").html(a).fadeIn(2000, function() {
        a = 'Happy birthday to you, ' + $name;
        $("#btext").fadeOut(2000, function() {
          $("#btext").html(a).fadeIn(2000);
        });
      });
    });
  });
}

<button onclick="startSong()">Now, we all want to sing you Happy Birthday! Go on and click this button!</button>

redpajama_set_name: RedPajamaStackExchange


Ahead of the U.S. Thanksgiving Day celebrations, Nickelodeon is serving a smorgasbord of animation, live-action and preschool premiere episodes starting Monday, November 5. This includes the series launches of pre-k toons Rainbow Rangers and Butterbean's Cafe, as well as new installments of PAW Patrol, Rise of the Teenage Mutant Ninja Turtles and The Loud House.
Live-action faves Double Dare, Henry Danger and Knight Squad also return, and a sneak peek of the new series Cousins for Life is set for Nov. 24.
Plus, from Thursday, Nov. 22 to Sunday, Nov. 25, The Fairly OddParents will take over Nicktoons Thanksgiving weekend, with episodes airing from 6 a.m to 10 p.m. ET/PT.
3 p.m. [Nick Jr.] Rainbow Rangers "Go with the Rainbow Floe/Northern Lights" (Series Premiere) The Rangers save a baby polar bear stranded on an ice floe. / The Rangers lose their Spectra Scooters while helping a seal family and discover the Northern Lights.
12:00 p.m. [Nickelodeon] PAW Patrol "Mighty Pups" (60 min. TV Movie) When their latest scheme goes awry, Mayor Humdinger and his nephew Harold accidentally divert a meteor towards Adventure Bay, which bathes the pups, Lookout Tower, and even Harold in the its golden energy –granting them superpowers. Harold tries to use his new powers to become the sole ruler of Adventure Bay, but standing in his way are the heroic Mighty Pups.
1:00 p.m. [Nickelodeon] Butterbean's Café "The Grand Opening!" (Series Premiere) Butterbean and her friends work together to make the opening of the café a success, while competing café owner Ms. Marmalady attempts to throw them off track.
7:00 p.m. [Nickelodeon] The Loud House "The Loudest Thanksgiving" (30 min. Special) Faced with spending Thanksgiving apart, Lori and Bobby try to bring their crazy families together for the first time.
12 p.m. [Nickelodeon] PAW Patrol "Pups Rescue Thanksgiving/Pups Save a Windy Bay" When the bouncy turkey from the Thanksgiving feast at City Hall flies away with Mayor Humdinger and his kittens, the pups must save the day. / A super strong wind suddenly sweeps up all the surfers in the Adventure Bay Windsurfing Race.
12:30 p.m. [Nickelodeon] Butterbean's Café "Fairy Happy Thanksgiving!/Cricket's the Boss!" Ms. Marmalady thinks she has nothing to be thankful for—until Butterbean and her friends show her what Thanksgiving is all about. / When Cricket opens a lemonade stand with her friends, she learns being a boss is tough.
7 p.m. [Nick Jr.] Nella the Princess Knight "The Unicorn Rescue" (30 min. Special) When a young Princess Nella meets a lost unicorn, she finds the courage to make her dreams come true by becoming a Princess Knight.
7:00 p.m. [Nickelodeon] The Loud House "Really Loud Music" (30 min. Music-Themed Special) Hoping to win a songwriting contest, Luna contemplates whether she should go with a song that's true to her sound or try to make something that the whole world will love.
12:00 p.m. [Nickelodeon] PAW Patrol "Ultimate Rescue: Pups Save a Swamp Creature/Ultimate Rescue: Pups and the Hidden Golden Bones" When something goes wrong on the swamp tour, it's Zuma and his Ultimate Swamp Vehicle to the rescue! / Everything is shaking and breaking beneath Adventure Bay, so Ryder needs Rocky to lead the pups on an Ultimate Fix-it Rescue.


A District Court erroneously granted summary judgment against an employee's long term disability benefit claim by reviewing an administrator's denial of claim under abuse of discretion rather than a de novo standard, because although the summary plan description for the plan gave the plan administrator discretionary authority to determine eligibility for benefits, the insurance certificate between the employer and insurance was the plan document and did not grant that the plan administrator had that authority. Prichard v. Metro. Life Ins Co., 2015 U.S. App. LEXIS 6553 (9th Cir. April 21, 2015).
A District Court did not erroneously grant summary judgment against a discharged employee's age discrimination and retaliation claims, because the employee did not offer evidence connecting his termination to one discriminatory comment, he had performance issues before reporting the comment to human resources and there was no evidence that the supervisors were aware of his report. Rey v. C & H Sugar Co., 2015 U.S. App. LEXIS 6603 (9th Cir. April 21, 2015).
A District Court did not erroneously grant summary judgment against a discharged employee's disability discrimination, race discrimination, retaliation or failure to accommodate claims, because he did not show the employer's reasons for his discharge were pretextual, the employer terminated the other employee who was allegedly the source of the discrimination and retaliation before it terminated the employee, the employee did not inform the employer of his restrictions or request an accommodation and he was released to work without any restrictions. Leatherbury v. C & H Sugar Co., 2015 U.S. App. LEXIS 6606 (9th Cir. April 21, 2015).
A District Court erroneously granted summary judgment against an employee's disability discrimination claim. There was a dispute of fact whether lifting packages weighing more than 40 pounds unassisted was an essential function of her driver position, because the applicable job description contained statements making it unreliable as a description of the position, the employer provided no evidence as to how often lifting more than 40 pounds was required and the employee's testimony did not estimate the relative time spent on larger as opposed to smaller packages. The employee offered evidence that the employer could accommodate her limitation by reducing the number of heavy packages in her truck and a collective bargaining provision that all drivers would earn a 'fair day's pay for a fair day's work' did not directly conflict with that accommodation. The District Court erroneously granted summary judgment against the employee's failure to accommodate claim, because the employee offered evidence that she requested modification of the driver position or reassignment, the employer did not show accommodation in conflict with the collective bargaining agreement and there was a dispute of fact whether the employer could have accommodated the employee by reducing the frequency of heavy packages in her truck. The District Court erroneously granted summary judgment against the employee's failure to engage in interactive process claim, because the employer did not reengage with her after her weight lifting limit changed. Wright v. United Parcel Serv., 2015 U.S. App. LEXIS 6489 (9th Cir. April 20, 2015).
Note: We analyze cases to learn rules the courts will follow or disappoint us if they don't. Rules that the courts follow allow us to behave and provide explanations that they accept. But competent advocates may limit the rules to the facts of the case where they are discussed, or expand rules by showing that differences in other cases are irrelevant.
The Labor and Industrial Relations Board did not err in concluding that an employee's psychological injury sustained as a result of supervisors accusing him of insubordination since he forget to turn off his computer monitor resulted solely from disciplinary action and his workers compensation claim was therefore barred by HRS § 386-3(c). Gao v. State of Haw. Dep' of Attorney Gen., 2015 Haw. App. LEXIS 194 (April 23, 2015).


Considering the desired image of the workplace, the functional requirements as well as employees well-being, are the basis of inspiration for DAR AL OMRAN's designs for office buildings. with a unique experience of the workplace.
Clients' visions for flexibility and comfort, connectivity and reliability as well as a healthy and effective workplaces are all interpreted through reflecting the sense of a company's mission, trademark and style of work which serves the needs and requirements of clients and employees alike.
This office building is located near the complex of the First Al-Tameer Shopping Project; a place of great importance in the heart of the city of Al-Riyadh. It introduces a contemporary image of a high rise building that is strongly connected to its surrounding urban context. The building comprises of sixteen floors of offices equipped and served with the most up-to-date building technologies. It is intended to be an urban landmark in harmony with other important buildings of the city such as the Friday Mosque and Justice Palace. This group of buildings will form the seeds for a homogeneous and well designed urban fabric.
The Tower is located in Amman across from the Housing Bank Complex, and near the old telecom tower, which will remain in function. It creates a unique and impressive landmark in the cityscape. The building was divided into two parts in order to preserve the continuity of the microwaves transmitted by the old tower. With bridges o several floors linking the two parts. The building consists of an auditorium, museum and offices including offices for the Minister and the Vice Minister on the top floors in addition to a small mosque located on the entrance circular court. The architectural character is inspired by local traditional and contemporary architecture.
The Chamber of Commerce and Industry building is located in one of the active commercial streets in Mekka Al-Mukkarama, where the suggested design reflects the art of traditional architecture of the region through a contemporary representation of the buildings formation and façades; through the materials used and the wooden mashrabiyas that symbolize the traditional architecture as decorative elements.
The project consists of six buildings, surrounded by a piazza that is covered with a tensile structure giving the building an impeccable design, and traces of modern design, five of these buildings comprise of nine floors that accommodate the Chamber's offices.
Located in the central district of Beirut, this landmark houses a mixed use program including car parking in the lower three basements, shopping mall and movie theaters in the first 5 floors provided with escalators & elevators, as the site is located between two streets of different levels. It also accommodates private clinics in a separate block of six floors with a separate entrance. The upper floors (from the 7th-16th) accommodate furnished apartments and studios. The architectural image is clearly inspired by Lebanon traditional architecture and reflects the complex program of human and organic expression.
Located in the Palestinian city of Ramallah, this building is intended as an impressive landmark in the cityscape, as it contributes to the development of the city through an innovative solution. The building consists of two stories of the state of the art shopping mall, one storey food court, ten stories of offices, five stories of hotel apartments, ballroom on the nineteenth floor, a revolving restaurant on the top of the building, as well as movie theaters at grade and below grade levels, and 3 levels of parking garages. The architectural character is distinctly contemporary using modern materials and facade treatments achieving a high degree of transparency and rationality.
In an attempt to create a unique and impressive landmark near the old city of Tripoli, Burj Bulayla was inspired to reflect the traditional elements of the region with a contemporary twist, while corresponding to the location by being tilted to face the street corner for better exposure and stronger presence.
Consisting of two square towers of 20 to 24 floors, this project houses the offices for an engineering company, with the higher tower intended for a bank. The ground and mezzanine floors are used as entrance lobbies and have banking services as well as a flexible open showroom in the lower tower with the upper floors having semi open plans for office areas.
Introducing the latest building design, the innovation of Sheikh Saif Tower design was inspired to reflect modernity and outstanding contemporary architecture styles that have developed in the emirate of Abu Dhabi.
The Design of Sheikh Saif Tower with a site area of 37,000 square meters reflects concepts of contemporary architecture in the city of Abu Dhabi, as this 25-storey tower consists of mixed uses, including commercial shops on the ground floor and offices on two floors above the shops and then elegant apartments reaching the roof level where there lies a health club.
This 13-story building consists of two shifted modules; a rigid external stone module encompassing an inner glass module, symbolizing the Company's dynamic and progressive vision through the shifted glass core while deriving its strength and stability from the traditional values of Kuwait through the masonry enclosure. The shape and position of the tent-like features at the portals reflect both Tamdeen's logo and inherent regional references.
With an architectural image defining a fusion between the past's solidity and the dexterity of the modern urban context, Al-Tamdeen Headquarters represent a flagship for Tamdeen while housing spaces for rental offices in the heart of Kuwait City.
The design of The Kordofan Trading Tower in the capital Khartoum won first place in the architectural competition, where the design reflected the traditional architecture of Sudan mixed with the contemporary architectural style.
The design of The Kordofan Trading Tower aimed to present a futuristic vision that would set a benchmark for the urban development plan of the city, In terms of the overall composition and the relationship with the surrounding urban context, this building consists of 25 floors including offices, furnished apartments, in addition to showrooms and multipurpose halls.
Client: Sudan Cotton Company Ltd.
The design of this architectural competition for the headquarters for the Cotton Company aimed to present a traditional architectural character associated with the city of Khartoum in a contemporary style, using modern materials and technologies such as steel and glass. The Cotton Tower is divided into two buildings, one being a commercial building with 15 floors and the other representing the head quarter building with 10 floors.
The Cotton Towers have a total built up area of 50,000 square meters; the buildings consist of a showroom, offices, apartments as well as general services and parking facilities.
The proposed design of Mutlaq Tower project located in the city of Jeddah, reflected Dar Al-Omran's methodology in the development of integrated creative architectural models and solutions for office buildings, where the design highlights the meaning of modern commerce and communication through an architectural language inspired from sea life and the shapes of ship elements in an abstract manner in the ability to survive nature's challenges and the art of dealing with it, where this was reflected in the design through the creation of a building that is well balanced and strong with the addition of elements that add vitality to this building.
The suggested design for this commercial complex located in Alabdali, is comprised of two major masses connected with each other through an atrium. The building also includes panoramic elevators to facilitate moving between the building's nine floors; The Alabdali Office Building inspired to create a mixed-use entity consisting of commercial zones in both the ground and mezzanine floors and offices distributed throughout the rest of the building, in addition to two basement floors for parking. The architectural character of the building is directed towards a contemporary expression through the use of materials such as glass, stone and concrete.
The design presented for the architectural competition for the Arab Insurance Company building reflected contemporary concepts of openness and values associated with the formation of the building. The building consists of six floors and two parking floors; the reception was located on the ground floor, while the administrative offices were distributed on the upper floors. In order to get a consistent geometric shape that reflects the design concept for the project; the building's exterior was surrounded with stone walls and modern mashrabiyya that reflect the image of traditional architecture, and which was designed to shield the building from the sun's direct rays.
The design of the Public Authority for Electricity and Water aims to highlight the Omani tradition through a traditional architectural style that is well balanced with modern design, the design also focuses on the private use of this building through symbolizing the combination of the energy of water and electricity for a sustainable future.
In order to achieve integration between traditional and contemporary architecture, the Gulf Council Interconnection Authority (GCIA) project located in Dammam–KSA was inspired to reflect a modern yet authentic civilization, with the aim to embrace sustainable and ecological concepts to encourage positive consumption of power and renewable energy.
The Gulf Council Interconnection Authority consists of multi-floor buildings throughout the site, and the project also houses a mosque, a recreational centre to serve the users and is surrounded with a piazza and embellished with astonishing gardens.
The Imara is the governing authority in Al-Madinah Al-Munawarah where His Royal Highnesses quarters lie. The architecture of the building is characterized by the traditional Islamic style. However, the existing interior of HRH is purely classical style. The interior concept was to transform the quarter from the classical style to Islamic style derived from the local Madinah heritage. This was to be implemented on site through as minimal work as possible in an innovative method whilst maintaining the basics of the structures allocated on site to minimize works onsite as probable.
The project consists of 6 floors in Al-Obeikan Tower opposite Mamlakeh Tower in Riyadh; these floors are to house the company departments and are to serve as Al-Obeikan Headquarters replacing their current offices. The consultancy service is to cover the interior design, MEP, BOQ, specifications and tender documents. The design reflected the new image of Al-Obeikan.
Al-Obeikan Group headquarters is located in the heart of Riyadh. This tower enjoys a vital location on the King Fahd Road and is characterized by a unique architectural feature, this inspired a sleek, stylish and clean look with well-defined lines, interiors of modern offices.
The design was stimulated by modern office approach of utilizing space and having transparency throughout all spaces with the use of cool color tones to enhance the definition of the clean cut lines and the main circulation axes in each floor. This also enriched the space by allowing the use of various finishing materials in a homogeneous manner reflecting the firm's futuristic vision. The interior layout pursued the improvement of work productivity, harmony in the office, and a well-defined hierarchy offering work spaces, meeting spaces and support spaces.
The location for the extension of the Bank is behind the existing building on Abdel Rahim Al Waked Street - a secondary road. The existing building was supposed to become an important element of the new Headquarters composition, as seen from Queen Nour Street- Main Street. The structure of the new extension was straightforward concrete frame with perimeter columns, allowing for a flexible office layout and an efficient structural system. At the end of each of the office floors small atria exist, social spaces, which should become focal points for each of the departments within the organization.
At DAR AL OMRAN, we always strive to achieve engineering excellence by accommodating the needs of our Clients through sustainable design.
For this project, DAR AL OMRAN designed three health specialty buildings for the Saudi Commission for Health Specialties. In the design of such projects, maximum flexibility and efficiency in the leasable floor area is vital to ensure the best return on investment for the Owner. For this, a modular design system is adopted to allow flexibility in the floor design according to the needs of the Tenant.
The interior design of the three buildings also emphasizes the flexibility and durability of this retail space. The careful selection of neutral themes within the buildings for public / shared spaces ensures that the public spaces created comply with the tastes of all Tenants.


(edit) 2008-02-27 01:44 UTC Not modified Req Open Irrelevant Ubuntu Disable all functions with explicit include list.
(edit) 2008-08-16 01:06 UTC 2016-08-03 19:42 UTC Bug Open 5.2.5 Windows XP Disabling classes & functions doesn't always disable them.
(edit) 2009-11-05 03:07 UTC 2017-10-24 06:23 UTC Req Open All All Sandboxes should inherit parent's INI settings.


text:
Ca l'Ameller és una obra de Banyoles (Pla de l'Estany) protegida com a bé cultural d'interès local.

Descripció
Gran casal format actualment per tres cossos i una gran terrassa que s'estén a tot el llarg del primer pis de la façana oest. Tots tres cossos tenen la coberta de teula àrab a dues vessants, un altre cos, situat a l'est posterior als tres esmentats presenta coberta de teula a una sola vessant. Es desenvolupa en planta baixa i pis excepte el cos central, que presenta una tercera planta amb tres badius que corresponen a les típiques golfes. La majoria d'obertures són emmarcades amb carreus de pedra a la façana sud. La llinda del portal d'entrada té la forma d'arc carpanell lleugerament rebaixat.

Història
Casa pairal d'una notable família de tradició liberal que compta entre els seus avantpassats figures de gran relleu polític i militar. Entre els seus murs es poden observar restes de l'antic mas d'en Peraseca (segle XIII) i sobretot de les reformes posteriors de finals del , que fou adquirida l'any 1765 per Francesc Ameller. Les reformes efectuades als segles XIX i XX es deuen als atacs napoleònics del 1809 i d'unes partides navarreses el 1835 que la van deixar molt destrossada. De l'antiga casa, només en queda l'estructura d'un antic molí, el molí d'en Peraseca. Segons el propietari es tenen notícies d'aquest molí des de l'època medieval.

A la finca es practicà el monocultiu destinat a la fabricació de teles amb indústria pròpia.

Referències

Patrimoni monumental de Banyoles
Edificis de Banyoles


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text:
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text:
O Estádio da Rua Tibiriçá foi um estádio de futebol brasileiro, que era localizado na cidade de Ribeirão Preto, estado de São Paulo. Pertencia ao Commercial Football Club e foi um dos primeiros campos de futebol a receber jogos oficiais na região de Ribeirão Preto. Hoje encontra-se desativado, e o terreno aonde ficava pertence hoje a Sociedade Recreativa.

História

O Estádio da Rua Tibiriçá, primeiramente chamado de Campo da Rua Tibiriçá, surgiu junto com o Commercial Football Club, e ganhou esse nome por ser instalado na Rua Tibiriçá, no centro da cidade. O Campo foi criado em 1911, mas o estádio com arquibancadas só surgiria em 1920, após um reforma iniciada em 1919.

A inauguração do Campo deu-se em 10 de dezembro de 1911, com uma vitória do Commercial por 2 a 0 sobre o Americano de Ribeirão Preto. O jogador comercialino Deodoro foi o autor do primeiro gol. Já o estádio, com arquibancadas, foi inaugurado em 18 de julho de 1920, com uma derrota comercialina para o Paulista por 2 a 1. Mario Andrade, do Paulistano, marcou o primeiro gol do estádio.

A estréia do Commercial contra um dos quatro gigantes do futebol paulista atualmente (Palmeiras, Corinthians, São Paulo e Santos), aconteceu no Campo da Rua Tibiriçá, no dia 9 de junho de 1918, quando o Leão venceu em casa, pelo placar de 1 a 0, o Corinthians.

Foi um dos primeiros campos de futebol da região de Ribeirão Preto que recebeu jogos oficiais.

Destacou-se, também, por ser o primeiro campo de futebol de Ribeirão Preto, e um dos primeiros do estado de São Paulo, que recebeu grama natural. A transformação do campo de terra para grama, aconteceu devido ao fato da torcida comercialina ser da "elite", e as damas e cavalheiros não gostarem da poeira que era levantada com a terra. O estádio da Rua Tibiriçá também recebeu a visita do Rei Alberto da Bélgica, em 10 de outubro de 1920.

Durante a Fase Amadora do Come-Fogo, o Estádio da Rua Tibiriçá foi palco de 13 das 22 partidas desse clássico. Foi na Rua Tibiriçá, também, que em 1 de agosto de 1920, aconteceu o primeiro clássico Come-Fogo da história de Ribeirão, vencido pelo Commercial por 8 a 0.

Em 1922, o Estádio da Rua Tibiriçá recebeu o maior jogo de sua história, um empate em 1 a 1, entre Commercial e a Seleção da Argentina.

A primeira vitória do Commercial na primeira divisão do Campeonato Paulista, aconteceu no Estádio da Rua Tibiriçá, no dia 21 de agosto de 1927. Na partida, o Commercial venceu por 2 a 1 o AA São Paulo de Alpargatas, tradicional time da capital paulista.

Com a filiação que o Commercial sofreu junto a Sociedade Recreativa, em 1936, o Estádio passou a ser propriedade da Recra. Como o Commercial deixou de disputar campeonatos, e a Recreativa não tinha um time de futebol, o estádio foi desativado.

Hoje, o terreno onde antes ficava o Estádio, é a sede social da Sociedade Recreativa de Esportes.

Ver também
 Lista de estádios de futebol de São Paulo

Tibirica, Rua
Tibirica, Rua
Tibirica, Rua


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The grand prize for the 2008 WSAPs will be entry into the Aruba Poker Classic this year with Absolute providing access to the fall tournament for some of the biggest winners. Aside from this there are also auxiliary cash awards and chances to receive four-week passes to Absolute's own $150,000 Guaranteed Weekly tournament. It's a great idea that is sure to drum up a lot of interest for poker fans who want to mirror the events of the biggest season in poker.


Reduced salt. Just add boiling water. Low sugar & fat. Suitable for vegetarians.
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Potato Starch , Maltodextrin , Palm Oil , Salt , Wheat Flour (with added Calcium, Iron, Niacin, Thiamin) , Colour (E150c) , Flavour Enhancers (E621, E635) , Flavourings (contain Barley) , Sugar , Emulsifier (E322) (contains Soya) .


text:
Claude Raimbourg est un graveur à la pointe-sèche, à l'aquatinte, au burin, sur bois et au carborundum, dessinateur, imprimeur, peintre et écrivain français né le  à Paris  où il a vécu avant de s'installer à Cayeux-sur-Mer.

Biographie

Claude Raimbourg, né au 139, avenue de Saint-Ouen à Paris du mariage du comédien Lucien Raimbourg (1903-1973) et de la pianiste Alice Gruet (1899-1985), reçoit une éducation pluridisciplinaire : si c'est son grand-père le peintre Hyacinthe Louis Raimbourg (1870-1960)  qui l'initie au dessin, Lucien Raimbourg le fait collaborer à son cours d'art dramatique, le faisant côtoyer  Pierre Prévert, Roger Blin, Eugène Ionesco, la poétesse Claire Goll (amie de Rainer Maria Rilke) ou encore l'univers du cirque connu dès son enfance avec Annie Fratellini et le clown Rhum : .

Élève de l'Institut catholique de Paris jusqu'à son obtention d'un diplôme d'éducateur spécialisé, Claude Raimbourg étudie simultanément la gravure dans les ateliers parisiens (notamment chez Jean Attali au 18, rue Saint-Antoine), rencontrant alors Anne-Marie Leclaire qui, devenant son épouse, partagera ses activités : dans les années 1980, celles-ci portent exclusivement sur la gravure, son enseignement (à la Maison pour tous de Ville-d'Avray, en leur atelier parisien de l'avenue de Saint-Ouen et à l'Académie Goetz-Daderian du 17, rue des Lyonnais) et son impression, Henri Goetz chargeant définitivement Claude Raimbourg et Anne-Marie Leclaire d'assurer, en tant que taille-douciers, l'impression de ses propres gravures.

Claude Raimbourg et Anne-Marie Leclaire créent le Salon de l'estampe de Ville-d'Avray et ouvrent, chaque été de 1980 à 1991 dans les Alpes-Maritimes, l'École de gravure de Levens. Ils s'installent ensuite à Cayeux-sur-Mer, dans la Somme, où ils poursuivent leurs travaux de création et d'enseignement.

Illustrations

Presse
Claude Raimbourg est l'un des illustrateurs de la revue Couleur cirque.

Contributions bibliophiliques

 Claude Raimbourg (texte) et Yves Brayer (illustrations), Garrigue, collection « Miroir oblique », Éditions de la Grisière, 1970.
 Andrée Chedid (préfacière), Marcel Proust, Rainer Maria Rilke, Andrée Beauvais, Charles Baudelaire, Pierre Vella, Dany Dang, Isabelle Normand, Léo Jean, Simone Landry, Victor Hugo, Claude Raimbourg, Blanche Rowe et Emmeline Wallet (textes), Dominique Alladière, Fabienne Bara, Andrée Beauvais, Françoise Bizette, Claude Bureau, Dany Dang, Sylvie Heyart, Janine Jacob, Hélène Laffy, Anne-Marie Leclaire, René Marchal, Claude Raimbourg, Jacqueline Rowe et André Wallet (illustrations en hors-texte), « Écrimage », numéro spécial de Groupe Corot - Les Nouvelles, 220 exemplaires dont 169 numérotés, 15 décembre 1993.
 Claude Raimbourg, Le Cirque de Claude Raimbourg, mise en page de Françoise de Latour et Gilles Garin, Éditions Couleur Cirque, Pont-l'Abbé, 2000.
 Claude Raimbourg et Sylvie Heyart, Malva, dix gravures originales, Eulina Carvalho éditeur, 2002.
 Nicole Gdalia (texte) et Claude Raimbourg (illustrateur), Conversation avec les oiseaux / Épars, Éditions Caractères, 2013.

Recueil de dessins
 Claude Raimbourg, Soulages et moi, Les Éditions du rectangle noir, 2014.

Expositions

Expositions personnelles

 Théâtre du Tertre, Paris, 1955.
 Maison du Portal, Levens, août 1983.
 Musée de Moret-sur-Loing, 1985.
 Bac Art Studio, Venise, 1987.
 Claude Raimbourg - Œuvres sur papier, Galerie Anne Lettré, Paris, novembre-décembre 1989.
 Claude Raimbourg - Rétrospective, dessins 1979-1989, Centre culturel Edmond-Rostand, Rueil-Malmaison, décembre 1989.
 Claude Raimbourg - Gravures, Maison romane, Saint-Gilles, 1997.

 Théâtre du Vieux-Colombier, Paris, 2000.
 Galerie bleue, Riscle, Claude Raimbourg, gravures, février-avril 2001.
 Claude Raimbourg - Paysages intimes, Galerie-librairie des Éditions Caractères, Paris, mars-avril 2017.
 Galerie Lis'Art, Le Tréport, septembre-octobre 2018.
 La fête de l'estampe : Claude Raimbourg, bibliothèque municipale de Cayeux-sur-Mer, mai 2019.
 Claude Raimbourg - Exposition dans le cadre du 44e Festival international du cirque de Monte-Carlo, Hôtel Columbus, Monte-Carlo, janvier 2020.
 Claude Raimbourg : l'univers du cirque, médiathèque de Rosporden, février 2022.
 Claude Raimbourg - Portraits d'écrivains, dessins, Galerie-librairie des éditions Caractères, Paris, septembre-octobre 2022.

Expositions collectives
 Salon de l'estampe de Ville d'Avray (Claude Raimbourg, commissaire d'exposition), avec la participation de Mario Avati, Hélène de Beauvoir, Michel Ciry, Albert Flocon, André Hambourg, Jacques Houplain, André Jacquemin, de 1980 à 2000.
 De Bonnard à Baselitz, dix ans d'enrichissements du cabinet des estampes, 1978-1988, Bibliothèque nationale de France, 1992.
 Derain graveur, ancien carmel, Tarbes, Claude Raimbourg commissaire d'exposition, septembre 1998.
 Salon de Fleury-les-Aubrais (Claude Raimbourg, invité d'honneur), bibliothèque Les Jacobins, Fleury-les-Aubrais, décembre 2000.
 Claude Raimbourg, Anne-Marie Leclaire - Gravures, Café du port, Île-Tudy, juin-septembre 2011.
 Anne-Marie Leclaire et Claude Raimbourg, manoir de Chaussoy, Tœufles, septembre 2017.
 Le cirque bleu, Garopôle, Abbeville, septembre-novembre 2018.
 Anne-Marie Leclaire (monotypes) et Claude Raimbourg (sculptures), Galerie-librairie des Éditions Caractères, Paris, décembre 2018.
 Michèle Bouvin, Anne-Marie Leclaire, Claude Raimbourg, office de tourisme d'Abbeville, octobre-novembre 2020.

Citations

Dits de Claude Raimbourg
  – Claude Raimbourg
  - Claude Raimbourg, à propos de sa suite de gravures Le Cirque bleu

Réception critique
  – Eugène Ionesco
  - Roger Vieillard
  - Nicole Gdalia
  - Hélène de Beauvoir

Prix et distinctions
 Prix de l'Académie poétique de Provence, 1970.
 Membre du Comité national de l'estampe.
 Nomination à l'Accademia del Verbano.

Conservation

Collections publiques
 Musée Boucher-de-Perthes, Abbeville, environ cent estampes (legs Claude Raimbourg).
 Musée Toulouse-Lautrec, Albi, Silhouette d'Henri de Toulouse-Lautrec, gravure sur bois.
 Archives départementales de la Somme, œuvres constituant le fonds d'atelier, dont 548 plaques de zinc et cuivre gravées et environ 700 dessins et aquarelles (legs Claude Raimbourg).
 Musée Picasso, Antibes, L'Espagnol, eau-forte.
 Fondation Arp, Clamart, Portrait de Jean Arp, gravure.
 Mairie de Milly-la-Forêt, La Chapelle des simples, gravure.
 Département des estampes et de la photographie de la Bibliothèque nationale de France, Paris, quinze gravures.
 Maison de Balzac, Paris, Portrait d'Honoré de Balzac, gravure.
 Musée Georges-Borias, Uzès, Portrait d'André Gide, gravure.

Collections privées
 Association Les Amis de Ramuz, Université François-Rabelais, Tours, Portrait de Charles Ferdinand Ramuz, gravure.
 Association Couleur Cirque, legs par Claude Raimbourg de la part circassienne de son œuvre, s'étendant sur soixante années de peintures et d'estampes.

Références

Annexes

Bibliographie
 Eugène Ionesco, Lucien Raimbourg, Claude Raimbourg, Levens, Éditions de la Maison du Portal, 1983.
 Didier Henry, « Claude Raimbourg, graveur », entretien avec l'artiste, Arts Actualités Magazine, .
 Jörge De Sousa, L'estampe, de la gravure à l'impression, éditions Fleurus, 1991.
 Françoise Woimant, Marie-Cécile Miessner et Anne Mœglin-Delcroix, De Bonnard à Baselitz - Estampes et livres d'artistes, Paris, BnF, 1992.
 Marie-Paule Peronnet, « Claude Raimbourg : un graveur, des mémoires », Arts et métiers du livre, , juillet-.
 Nicole Gdalia et Rose Paget-Lamboley, Visages de Bruno Durocher - Autour de douze artistes : Ben-Ami Koller, Zwy Milshtein, Claude Raimbourg, Richard Rein, Julio Romera, Luc de Saint-Germain, Janine Sicart, Loulou Tayeb, Hilda Van Norden, Georges Visconti, , Nicole Gdalia, Éditions Caractères, 1997.
 Emmanuel Bénézit, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, Gründ, 1999.
 Jean-Pierre Delarge, Dictionnaire des arts plastiques et contemporains, Gründ, 2001.
  Dirk van Hulle et Mark Nixon, Samuel Beckett's Library, Cambridge University Press, 2013.

Liens externes

Graveur français du XXe siècle
Graveur français du XXIe siècle
Graveur à la pointe sèche
Aquafortiste français
Aquatintiste
Graveur au carborundum
Graveur sur bois
Peintre français du XXe siècle
Peintre français du XXIe siècle
Écrivain français du XXe siècle
Écrivain français du XXIe siècle
Naissance en mars 1935
Naissance dans le 17e arrondissement de Paris
Personnalité liée au département de la Somme


Amateur A young basketball player struggles to fit in with his new team.
Split A man once called a bowling legend teams up with a bookie and an autistic genius bowling player.
Dirt In search of a lifeline for his struggling off road racing team, a man takes on a young car thief looking for a second chance, but as their worlds collide, they must struggle to forge a successful alliance.
I, Tonya Competitive ice skater Tonya Harding rises amongst the ranks at the U.S. Figure Skating Championships, but her future in the activity is thrown into doubt when her ex-husband intervenes.
Borg vs McEnroe The story of the 1980s tennis rivalry between the placid Björn Borg and the volatile John McEnroe.
Kenny An intimate and revealing portrait of Kenny Dalglish - the player, the man, the truth.
Born To Sweat Sebagai sosok yang pantang menyerah, kegagalan bukan menjadi alasan bagi @barrakumbara untuk bangkit dan meraih prestasi. Di tengah menjalani program latihan, Melanie Putria mengalami sebuah hambatan yang menghalanginya menjalani proses latihan. Apa hambatan yang dialami Melanie kali ini?
Saki Story follows high school student Saki Miyanaga (Minami Hamabe) and her classmates as they become absorbed in the game of mahjong. They target an upcoming national competition.
On Wings of Eagles Eric Liddell - China's first gold medalist and one of Scotland's greatest athletes - returns to war-torn China.
Kuroko no Basket: Last Game The Generation of Miracles, including Kagami and Kuroko, form Team Vorpal Swords to challenge Team Jabberwock to a revenge match after the latter disparaged all Japanese basketballers as monkeys.
Lucky Trouble A school teacher from a small Russian town falls for a beautiful Moscow woman who is engaged to be married.
Ta Ra Rum Pum Ace car racer RV and his wife have the world at their feet. But he has an accident and his world is turned upside down. Can he reclaim his lost glory?
Dil Bole Hadippa! In a village where girls don't play cricket, Veera puts on a turban and beard and becomes Veer to fulfill her dreams and meets Rohan. And fun begins.
Goon: Last of the Enforcers A hockey player plagued by injuries is confronted with the possibility of retirement when a tough new player challenges his status as the league's top enforcer.
Williams Focusing on the career and family of its legendary founder Sir Frank Williams, the British sports documentary tells the extraordinary story of the Williams Formula 1 team, from its inception to the present day.
American Wrestler: The Wizard In 1980, a teenage boy escapes the unrest in Iran only to face more hostility in America, due to the hostage crisis. Determined to fit in, he joins the school's floundering wrestling team.
Azhar Biographical sports drama based on the life of former Indian international cricketer, Mohammad Azharuddin.
The Greatest Game Ever Played In the 1913 US Open, 20-year-old Francis Ouimet played against his idol, 1900 US Open champion, Englishman Harry Vardon.
My Name Is Lenny The life story of one of Britain's most notorious bare-knuckle fighters, Lenny McLean, also known as "the Guv'nor."
Jawbone Former youth boxing champion Jimmy McCabe, after hitting rock bottom, returns to his childhood boxing club and his old team, gym owner Bill and corner-man Eddie.
Tracktown A bright, talented and lonely long-distance runner twists her ankle as she prepares for the Olympic Trials and must do something she's never done before: take a day off.
Greater Greater – The story of Brandon Burlsworth, possibly the greatest walk-on in the history of college football.
Moneyball The story of Oakland Athletics general manager Billy Beane's successful attempt to put together a baseball team on a budget, by employing computer-generated analysis to draft his players.
My All American Freddie Steinmark, an underdog on the gridiron, faces the toughest challenge of his life after leading his team to a championship season.
Bleed for This The inspirational story of World Champion Boxer Vinny Pazienza, who after a near fatal car crash, which left him not knowing if he'd ever walk again, made one of sports most incredible comebacks.
Queen of Katwe A young girl overcomes her disadvantaged upbringing in the slums of Uganda to become a Chess master.
Dirty Old Wedge The Wedge, located at the end of the Balboa Peninsula in Newport Beach, California, is a world famous, man-made beast of a wave.
Seabiscuit True story of the undersized Depression-era racehorse whose victories lifted not only the spirits of the team behind it but also those of their nation.


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NET GALLERY
Place, Space and Sound
Christian Hörgren
The theme of Stockholm New Music (18-25 feb, 2006) was "Place and space", the relation between music and the room. Interesting indeed, but also a vast and difficult issue. To handle the theoretic challenge, the festival had chosen to spend a load of money on a book, guiding the listener through the week. The first part containing short essays on the subject of the festival, the second part presenting the program with brief comments on every piece performed. In order to present different viewpoints on the subject, the festival was subdivided. Every day a new theme, for example "The freedom of the fragment", "Speaking with angels", "The wanderers dreams", "Cities" and "Where is the place?". A good way to approach the music from different angles with different associations. But before we can talk about the festival, we should explore the twilight zone between the room and the sounds.
How does architecture relate to music?
The Perfect Loudspeaker
One of the oldest and most explored links between music and architecture is the notion of the acoustics. A certain room sounds a certain way; the sound is a proof of its physical extension and constitution. A compulsory example of the acoustic connection is the highly developed music by Palestrina, whose multiple antiphonal choir was located in different parts of the church. Another is the old saying that music by Bach should be heard in the St. Thomas Church in Leipzig, since that's where it was heard the first time. Some have driven this one step further by rebuilding the room, to make it more appropriate. Eccentric examples of this are Wagner's self designed opera on the holy hill of Bayreuth and the visionary open-air concert place for Prometheus by Alexander Skrjabin. Stockhausen himself, inspired by the geometrical projects of architect Buckminster Fuller, designed the Kugelauditorium, a spherical loudspeaker construction for the World Expo in Osaka 1970. The German architect Fritz Bornemann transformed it to a pavilion, and the speakers were arranged to achieve a realistic three-dimensional effect around the listener. Many composers have used the technical construction as a theme, but not implemented as natural as in this project. Most often the room is silenced with soft panels, and after this the music is added with overlayered reverbs, rooms and sound narratives. Over the last decades researchers have made efforts to design and differentiate the sound environment. But this is rather an expansion of the profession of the architect or building engineer than a new approach towards music itself. Acoustics is a thing for people working with sound ergonomics, or the question of how to build the perfect loudspeaker.
Form and Topography
Another crucial point is the many formal similarities between architecture and music in terms of topography and morphology, i.e. how the room/music develops over time. École des Beaux-Arts, the academy of architecture in Paris in the 18th century used different formal criteria in the analysis of a building. The concept Disposition combined the relation between plan and volume (Parti), and the experience of a walk through the building (La marche). La marche was the most important thing, how to move through a sequence of rooms according to a certain pattern. There is a parallel between this and the sonata form in the traditional music theory; a predestinated sequence of musical events; a strictly controlled room with a direction and a clear goal. In her thesis "Musikens rum; Metaforer Ritualer Institutioner" (1995), architect and musicologist Catharina Dyrssen makes the connection between the Gothenburg Concert Hall and the Haeffner symphony by Mozart. In her analysis she uses the connection between La Marche and the sonata form, which by all means is a proof of certain similarities between the walk in a classical room sequence and the morphology in a certain type of music; The form is in both cases narrative and directed towards the Grand Finale. Unfortunately the analysis fails to create a wider connection between architecture and music. The fact that B comes after A is not enough to make a relevant connection, other than on a rhetorical level. The background chapter of the thesis is interesting and informative, but the analyzes fails to convince. The double exposure of the Haeffner symphony and the Gothenburg Concert Hall becomes the Memento Mori of structural analysis.
The Vehicle of Representation
Finding the acoustic connection too technical and the formal too analogue, some have tried to superimpose architecture and music through different strategies of representation. Is it possible to transform different representations of music to space, and vice versa? On the 1958 World Expo in Brussels, corporate giant Philips was represented by a pavilion designed by the architect Le Corbusier. Unlike all his other buildings in his career, this was co-signed by the young engineer Iannis Xenakis. The 75-year old composer Edgar Varése wrote the music in the pavilion. Through mathematical transformations and graphical representations the gap between sound and concrete wall was overlapped. The dynamic shapes representing different theoretical parameters can be traced in Xenakis works from his entire career. Like his predecessor Pythagoras, all his life Xenakis tried to superimpose music, architecture and mathematics. Some people say he was a mediocre mathematician, but the result is rich, complex and intellectually challenging. But most convincing is not the transformation act between the different languages - it's the music itself. The vibrating house of Xenakis is liberated from time and place. The music is archaic, monolithic, naked and beautiful, all at the same time. Another example of transformation through representation is a house by Steven Holl, where he uses the formal similarities more obvious than Xenakis. In fact he is very close to Dyrssen's connection between crescendo and the height of the ceiling. Without hesitation Steven Holl translates the image of a score by Bela Bartók ("Music for strings, percussion and celesta"), whose repetitive arpeggio is transformed to arched roofs, one after the other. It is a nice piece of architecture, but it is not the connection we are looking for.
The Metaphysical Place
The examples above have proved to be rhetoric figures, obvious analogies or shown that the works are classics thanks to the quality of the room/music itself. Let us widen the perspective and let go of the physical room, maybe this expanded field can help us further. If we are searching for a meaningful connection between music and architecture, maybe it doesn't have to do with similarities. Is there a point where they collapse into each other? Could a fruitful place to start looking be in the subjective experience, inside us? In our perception the two concepts superimpose completely, which is a methodological problem. The field of our study becomes immense. We have to choose a discourse: psychology, sociology, cultural studies, politics etc. But instead of even trying to make one consistent theory, I will analyze one example. Maybe this will deconstruct all problems that have occurred during our search for a connection.
A Case Study: Morton Feldman
During the 50-60's, the artists of the New York school contributed to the development of a phenomenological and postmodern theory of the time. This occurred in many disciplines at the same time; the abstract expressionism in painting, the choreography of Merce Cunningham, the everyday poetry of Frank O'Hara and the open ears of John Cage. The composer Morton Feldman combined notions of space and sound in his works like no one before. The music of Feldman is very quiet and delicate, like the breath of a small bird. The durations of his late quartets are extreme, one is around seven hours, but they never coagulate to stiff minimalism. The music slowly unveils like an oriental rug, with notes and arpeggio like millions of knots, slowly modulating creating a big unity. In contrast to the dialectics between matter and essence in traditional metaphysics, Feldman never creates any ideal objects. The music has no ambition to create meanings or sentences with different figures or narratives. Without musical expressions and gestures the pieces become very material, tangible and prosaic, the result becomes meta music. Feldman's aesthetics is all about presence, where the sound is allowed to interact with the context of its performance. The music is a transparent layer, a thin japanese paper, on which he calmly sketches a new, metaphysical room. This interaction between context and music makes it site specific, with the ability to interact with any place in the world. The piece invites the environment to become a part of it, like a subtler version of 4' 33'' by John Cage, or a whispering counterpart to the Non-sites of Robert Smithson. By deconstructing the notion of form, Feldman reduces the music to a constant rebirth, continuously presenting one new room after the other – always returning to the beholder as a cognitive imperative, appealing to experience the present again, and again, and again… When matter collapses with essence, the musical signs dissolves and the sound suddenly re-appears very close to the listener, almost as a physical phenomenon. The music becomes like wallpaper, or like the weather. It's just there. Morton Feldman disliked the sonata form because of its narrative character. He wanted to make sound rather than form. This ambition, together with his construction of metaphysical places, implicates a strong connection to the phenomenology. A comparison with the traditional definition of room in architecture can help us define the construction of place in the music Feldman – or rather how he dissolves and questions the definition of a place, the way it was defined in terms of form and structure by predecessors like the École de Beaux Arts. Feldman describes his music with terms used when describing a room, such as measures, proportions and scale. He describes his music like walking along the streets in Berlin – where all houses look the same, even if they are not. Or like a stationary procession, not unlike a motif from a Greek temple frieze ("Essays", Zimmermann, 1985). The comparison with an antique thympanon indicates his will to deconstruct classical elements to make something new. Very similar to the intricate details of the greek temple, whose subtle distortions in the perspective increases the tension of the visual appearance, Feldman writes detailed instructions for the musician how to act in every situation. What you might experience as extended, monotonous chords over immense time is in fact thoroughly notated clusters of sound with a constant change of measures, proving his will to give every bar a unique character. Feldman is thus aware of the relation between the phenomenological room and the notion of interpretation. What you might hear as an open, floating space of sounds, is in fact an exactly notated, concentrated flow of superimposed clusters of sound.
The case of Morton Feldman is an example of how to connect architecture and music on the level of perception, where the construction of mental objects and cultural constructions in both discourses can give a new understanding of objectiveness and the notion of space. By avoiding structuralistic methods of analysis, instead using a phenomenological perspective (based on the experience of the subject), a fruitful connection between music and architecture can be established. These two disciplines meet in the metaphysical room, the non-geometrical place, where it can appear as a mental construction or a discoursive object. But even if Feldman succeeds to melt down sound and space to meta reality, many questions are still to be answered. Is it possible to describe this room in terms of topography or morphology? Is there a new terminology to explore, invent or analyze beyond what we can physically measure? What does this world look like?
Alvin Curran at Stockholm New Music Festival
Closely related to the metaphysical space of Feldman is the works of the American composer Alvin Curran. He was born in 1938 in Rhode Island, but started out his musical journey in Rome in the late 60's, where he founded the radical musical collective MUSICA ELETTRONICA VIVA (MEV), working with noise and improvisation in collective, political forms. He has since been one of the forerunners in experimental american music made outside the concert halls, and in his music he uses electronic and environmental found sounds, very often with an engaged attitude towards the spatial notion of sound. His suite for solo piano "Inner cities" was performed during the Stockholm New Music Festival. The piece is also related to "Invisible Cities" by Italo Calvino, where Marco Polo is describing dreamy, beautiful cities for the listening Kublai Khan. At the festival Belgian pianist Daan Vandewalle performed the whole piece. "Inner Cities" lasts for more than four hours, thus belonging to the same tradition as Satie's "Vexations", Feldman's late chamber works and "The Well Tuned Piano" by La Monte Young. What these works have in common is the focus on the subjective experience. Because of the extreme duration, the listener is forced to experience the music in a new way, like in slow motion. The first part begins with a few repetitive chords, like a stuttered preparation. The arpeggios and sensitive dissonances of the second part sounds like Morton Feldman. One piece is added to another, like facades on a street, and the flow of sounds is slowly transforming to a mighty city. "Inner Cities" emphasizes the physical aspect of the performance of the piece, the sacrifice that has to be done, both as a performer and a listener.
Another brilliant work not performed during the festival but worth a mention is the record "I'm sitting in a room" (1969). This composition is interesting not only because the composers names are almost the same but it also explores the boundary between sound and space. The first thing we hear is the composer Alvin Lucier reading:
"I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed..."
The voice in the room and the reverb, one layer added after the other, evolves into a poetic interpretation of what a room sounds like. This is with no doubt one of the most intelligent pieces ever made on the subject place and space.
Stockholm New Music raised many questions, among them maybe the most important - doesn't all music relate to the place? The thematic approach and theoretical ambition of Stockholm New Music Festival proved their awareness of the fact that sound and space are two sides of the same coin, happening inside our head, all the time. The major conquest of the festival was the strategy to contextualize music. What happens if we approach music from a new point view, the notion of place? What does the poetic room look like, the room of the city, the mental experience etc. The change of focus towards the experience of the room/music can give us a new understanding of the constitution of a place. As we have seen in this article, deconstructing the dichotomy between room/sound has helped us unveil a seamless room based on experience, context and interaction. The subjective, imaginative place is rich and complex (almost redundant), but is so far the most adequate example of an alloy between architecture and music.
Architect and musician Christian Hörgren has since the mid 90's been working with architecture, music, writing and performance. In different projects he has explored the connections between these artforms in collaboration with composers, choreographers and directors. As a cellist he is also active in several free improvisation groups based in Stockholm. The prime mover in Hörgrens work is the critical perspective of art/music, and how this has evolved during the 20th century. Besides music and design he also writes critical essays in musicology and art. In the last years he has published articles in Nutida Musik (Contemporary Music) on electronic music collectives in the 60's, music and politics, alternative music in Istanbul and Marcel Duchamp. His free improvisations are available for listening at www.myspace.com/christianhorgren and www.myspace.com/pallinmusik.
FYLKINGEN'S NET JOURNAL
- © 2007 all rights reserved -


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November 10, 2016 3:31PM ET
Pink Floyd's Lavish, Epic 'Early Years' Box Set: 11 Essential Finds
What to look for among new set's 27 discs of mostly previously unreleased performances charting group's formative period
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Pink Floyd's massive new 'Early Years' box set contains 27 discs of audio and video. Here's what to look for.
DAPR/ZUMA
Long before prog-rock firebrands Pink Floyd defined cerebral pop for a generation with albums like Dark Side of the Moon, Wish You Were Here and The Wall, they were Stones-y blues rockers, psychedelic space cadets, folk-rock moodscapers and heady musical mad scientists. Each captivating turn they made in their salad days, whether with original frontman Syd Barrett or the partnership of Roger Waters and David Gilmour leading the way, kept listeners' ears piqued for what they would come up with next.
The ginormous new box set The Early Years 1965 – 1972 presents a goldmine of footage and recordings of the band before they were megastars. The collection contains 27 discs, including DVDs and Blu-rays, with unreleased outtakes, TV performances and other film clips, as well as five seven-inch singles and reproduced memorabilia. It all documents the group's genesis through the release of their Obscured by Clouds LP, as they weirded out Dick Clark on American Bandstand, reorganized their catalogue into conceptual performances, worked with a ballet company and stormed the ruins of Pompeii.
David Gilmour Talks Pompeii Return: 'It's a Place of Ghosts'
The set comes in a giant box – about the size of a treasure chest – patterned to look like Pink Floyd's original bus and it includes seven hours of previously unreleased audio and more than seven hours of rare footage. It costs a hefty price ($550 on the group's website, more on Amazon), but diehard fans will justify the cost since while some of the collection's rarities have circulated on bootleg circuits, they have never sounded or looked so good.
Here are Rolling Stone's picks for the greatest highlights from The Early Years.
1. 1965 Recordings
The band released this sextet of songs from its first recording session last year as a limited-edition seven-inch to preserve the copyright, but it was such a small run (1,050 copies) that prices for it have skyrocketed. At this point in Pink Floyd's career, they sounded very much in the vein of the Rolling Stones – big, bluesy pop songs, a Bo Diddley tribute, a Slim Harpo cover – and Barrett howled a bit like Mick. Their lead guitarist at the time, Rado Klose, played bouncy pentatonic solos, and they welcomed keyboardist Rick Wright's wife, Juliette Gale, to sing background on the whimsical Waters-penned tune "Walk With Me Sydney." Within a couple of years they'd be trawling the depths of psychedelia, making this period of time all the more curious.
2. Syd Barrett–Era Outtakes
Deeper into the same disc that contains the group's first sessions are a number of studio recordings that Syd Barrett made with the group around the recording of their A Saucerful of Secrets LP but have been shelved until now. "In the Beechwoods" is a dramatic and jammy instrumental. "Vegetable Man," which has been covered by the Jesus and Mary Chain and the Soft Boys, is a whimsical slice of psychedelia imagining Barrett as the title character. And "Scream Thy Last Scream" is a stilted, off-kilter rocker sung by Nick Mason as Barrett sings along in chipmunk voice.
3. Syd Barrett–Era Video Footage
Focusing on the period just after the band's first session, the Blu-ray and DVD that accompanies the group's earliest years presents an hour of revealing material. It includes, among other items, compelling footage of the band from 1966 hanging around Cambridgeshire and climbing rocks, as Piper at the Gates of Dawn's "Chapter 24" plays; a clip of them recording "Nick's Boogie"; a black-and-white newsreel on the psychedelic experience showing them playing "Interstellar Overdrive" to strobing lights; a hilarious clip of them at the beach with a mannequin as "Arnold Layne" plays; a colorful "Jugband Blues" video; and one of the weirdest American Bandstand performances of the Sixties, when they played "Apples and Oranges" a couple of days into their first-ever U.S. tour. It's worth watching Dick Clark trying to figure them out.
4. The Man and The Journey
Pink Floyd's 1969 tour found them performing two suites, The Man and The Journey, which told a conceptual story of a day in the life of a person using songs from their career so far. They debuted the works at London's Royal Albert Hall in April of that year, and the box set includes footage of them rehearsing songs from both sets: "Afternoon" (originally Relics' "Biding My Time"), "The Beginning" (More's "Green Is the Colour"), "Nightmare" (More's "Cymbaline") and "Beset by Creatures of the Deep" (Saucerful's "Careful With That Axe, Eugene"). A CD also presents a full audio performance of The Man and The Journey, and it all provides intimate look at a unique turning point for the group as they embraced the idea of the extended concept-driven work, which would define their next decade. (Also, it's worth noting that another disc from this period contains alternate and unreleased tracks from the group's More soundtrack.)
5. "Interstellar Overdrive" With Frank Zappa
While performing at a festival in Belgium in October 1969, Pink Floyd were joined by Frank Zappa for a rousing, 11-minute performance of "Interstellar Overdrive." Roger Waters has a wild look on his face as he talks to Zappa, who has a cigarette hanging off his guitar, before they mount the weighty, unwieldy Piper at the Gates of Dawn standout. Although Rick Wright's keyboard sometimes drowns out Zappa's guitar, the moments where you can hear the main Mother of Invention let loose in freeform fluid jamming are transcendent.
6. Atom Heart Mother and the Zabriskie Point Outtakes
Pink Floyd's dramatic symphonic suite "Atom Heart Mother" makes up much of the disc's content from 1970. One CD contains two renditions of the work, including a version for BBC with choir, cello and a brass ensemble, and the Blu-ray and DVD contain several more renditions – including a stunning performance in Hyde Park with the Philip Jones Brass Ensemble and John Alldis Choir. The Blu-ray even includes the original quad mix of the entire Atom Heart Mother LP. The 1970 audio also includes more than an hour's worth of music that was written and abandoned for Michaelangelo Antonioni's Zabriskie Point movie. Fans know that the group plucked one unused track from that session and reworked it into Dark Side's "Us and Them" (that same melody is also present on the previously unreleased "Looking at Map"), so it's interesting to listen for the seeds of the next phase of their development. That disc also includes a band-only version of "Atom Heart Mother."
7. St. Tropez
The Blu-ray for 1970 also includes a stunning set the group recorded in St. Tropez in August 1970 at the Pop Deux festival. The highlight is a typically frightening, 12-minute performance of "Careful With That Axe, Eugene," which finds Roger Waters making animal sounds into his microphone.
8. Early "Echoes"
While the group was still promoting their Atom Heart Mother album, they began sketching out some of the music that would appear on Meddle. One such track is the epic "Echoes" – the apex of their Live at Pompeii film – and the CD that focusses on 1971 contains a seven-minute work-in-progress instrumental version of the tune, titled "Nothing Part 14." It includes the chilling pin-prick keyboard sounds and propulsive rhythms of the later version. The same disc also features a 26-minute version of the cut they recorded for the BBC later that year.
9. Ballet and Pompeii
The Blu-ray for 1972 contains a number of French newsreels showing the group's intriguing attempt at lending their music to ballet. Dancers pirouette and dive into upside-down positions to Floyd tracks "One of These Days" and "Careful With That Axe, Eugene" and a version of "Echoes" with vocals as a fog covers the stage and the band performs in shadows behind them. Another bizarre, beautiful clip shows the band better as well as the onstage pyro they used at the performances. Meanwhile, the same disc contains Pink Floyd's stunning Live at Pompeii film with the audio newly remixed into 5.1 surround sound, giving new depths to the stark visuals.
10. Pink Floyd's Bits and Bobs
Although most of the box set is arranged chronologically and logically, it also includes a bonus collection of works stretching from 1967 through 1974. The CD features two separate BBC sessions from 1967, including an early version of Roger Waters' "Set the Controls for the Heart of the Sun" and performances of "Vegetable Man" and "Scream Thy Last Scream." There's also an improvisation, dubbed "Moonhead," that the group performed in 1969 as the BBC broadcast the first moon landing, and a brilliant performance of "Echoes" at Wembley in 1974. Meanwhile, one of the Blu-rays in this section features an alternate music video for "Arnold Layne," showing the band playfully fighting, as well as performances from throughout the years, and the other contains the full feature films More and La Vallée, which the band had scored.
11. The Memorabilia
The amount of attention detail poured into this box set is remarkable. The band has reproduced concert programs, posters, tickets, articles and more from each year of its formation. Moreover, the seven-inches – which include "Arnold Layne," "See Emily Play" and "Apples and Oranges," among others – contain faithfully reproduced artwork. This is the collection Pink Floyd fans have been waiting for.
Watch things you didn't know about Pink Floyd's Syd Barrett.
In This Article: David Gilmour,	Nick Mason,	Pink Floyd,	Rick Wright,	Roger Waters,	Syd Barrett


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Top 10 Summer Movies: What Blockbuster Is Best?
by Joel D Amos at August 31, 2012 3:28 pm . Comments
It is a sad time for fans of the warmer months as Labor Day arrives. But, it is a chance to look back on what was the hottest in film for the summer movie season.
Movie Fanatic has seen it all and yes, this summer was not on par with the legendary summer of exactly four decades ago. 1982 saw E.T., Blade Runner, The Road Warrior, Rocky III, Star Trek II: The Wrath of Khan, Poltergeist, The Thing and Fast Times at Ridgemont High delight audiences.
This past season was still pretty solid and possessed some serious surprises. Here are the Top 10 Summer Movies of 2012:
10. The Bourne Legacy
Jeremy Renner effortlessly stepped into a franchise made famous by Matt Damon. The Bourne Legacy was a leaner effort than the first trilogy and effectively set up the series for the Renner era. Rachel Weisz was astounding as Renner's helper/love interest and the action continued to push the envelope as the series has always done.
9. ParaNorman
Fans of stop motion animation will cheer and those who don't think they liked the format will be completely shocked at how astounding ParaNorman is to witness. The film about a little boy who sees the supernatural and will try to save his town from invading ghouls hits all the right beats and is easily the family movie of the summer.
8. People Like Us
Chris Pine and Elizabeth Banks are marvelous as a brother and sister pair who only learn of that fact when their father passes away. People Like Us is a story for our time and packs an emotional punch that is oh so good. The film was a refreshing adult-centered drama in the midst of the summer blockbuster explosions.
7. Ted
Seth MacFarlane shocked the world with his first full-length feature film. The comedy starring Mila Kunis and Mark Wahlberg with MacFarlane voicing the foul-mouthed teddy bear of the title was by far the funniest film of the summer. We have the Ted quotes to prove it! Let's get more big screen laughs from MacFarlane and soon.
6. Moonrise Kingdom
Wes Anderson achieved his best film in years with Moonrise Kingdom. No wonder, as his cast (Bruce Willis, Edward Norton, Bill Murray, Tilda Swinton, Frances McDormand and Jason Schwartzman) was top notch and the story about two tweens (sensational debuts by Jared Gillman and Kara Hayward) finding love was touching and pure.
5. The Best Exotic Marigold Hotel
Who would have thought that a film about the senior set beginning a new chapter of their lives in the Indian titular establishment would break box office records? But, that is exactly what the Bill Nighy, Judy Dench and Maggie Smith-starring vehicle did. It was one of the first summer flicks to hit $100 million in global gross and is easily one of the greatest joys of this past summer.
4. Beasts of the Southern Wild
Oprah Winfrey has been going on and on about this film and we don't blame her -- we did too in our Beasts of the Southern Wild review. The first film to truly have a shot at a Best Picture Oscar, we hope, is not forgotten come nomination time. Especially with the recent storm devastation that hit New Orleans, this NOLA-set film is as timely as it is moving.
3. Lawless
The true story of the bootlegging Bondurant brothers closed out the summer with a bang. Director John Hillcoat and screenwriter Nick Cave combine forces again after their incredible The Proposition and give the classic 1930s gangster flick new blood by taking the action to Appalachia. Tom Hardy gives a performance that is worthy of Oscar love and Shia LaBeouf comes into his own as an actor as the youngest brother seeking to make a name for himself in Lawless.
2. The Dark Knight Rises
A fitting end to Christopher Nolan's Batman series, The Dark Knight Rises managed to wrap up the series with a nice, albeit explosive bow, and also leave the future of the franchise open for more from another helmer. Some argued that The Dark Knight was a better film with a better villain (The Joker), but Tom Hardy's Bane from The Dark Knight Rises does the trick as the actor scores again in summer 2012 by turning in his second stellar Top 10 movie performance.
1. The Avengers
The biggest blockbuster of the summer was also its best film. Joss Whedon did the impossible by bringing together the worlds of Iron Man, Captain America, Thor, the Hulk and the mythology of S.H.I.E.L.D. in a two-hour film that fired on all cylinders. Movie Fanatic knew when The Avengers debuted back in early May that the rest of the summer would be downhill because we had just witnessed the finest Hollywood had to offer this season.
Honorable Mentions: The Campaign, Killer Joe, Katy Perry: Part of Me, Magic Mike and Madagascar 3: Europe's Most Wanted.
Tags: Top 10 Movies
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