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What is Montages?
After Earth, Part II: Figure in a landscape
By Dag Sødtholt, Jun 2, 2017 38 min read
The author is also behind an analysis project about M. Night Shyamalan's five films from 1999 to 2006. There are several articles on each film: The Sixth Sense (1999, here, here and here), Unbreakable (2000, here, here and here), Signs (2002, here, here, here and here), The Village (2004, here, here and here) and Lady in the Water (2006, here and here). All the articles can also be accessed through this overview. There is also an article about Split (2016). This is the second of two articles about After Earth (2013). The first one is here.
Even though After Earth is not among M. Night Shyamalan's best works, it is made with considerable finesse and craftsmanship. The first half hour is very uneven but the last hour is excellent. Arguments for why it is a much better film than commonly held can be found in the first article.
In the following we are going to see how Shyamalan, faced with commercial and artistic restrictions (see here) luckily not applicable for his early films, has managed to downscale his directorial personality but not losing it. This author does not claim that the devices and methods applied to After Earth are in any way unique or the result of some towering directorial genius. The aim is simply to get at the truth of how this specific film is working. It is hoped, however, that afterwards we can agree there are indeed skill, elegance and beauty in After Earth.
Without further ado we will delve into three brilliant scenes: the poisoning, the dream on the raft, and when Kitai is caught in the cold and the aftermath. (Other outstanding situations are already covered in the first article: the sequence when Kitai reaches the tail section of the ship, and the climactic epiphany on the mountain). The rest of the article is devoted to an always rewarding approach to a Shyamalan film, namely structure: the miniature motif, the embrace echo, some visual rhymes, and examples of the staging of scenes. There are also a couple of addendums, this one deals with the opening of the film.
For readers unfamiliar with the story of After Earth, here is a brief outline of the plot.
Three brilliant scenes I: The poisoning
Early in Kitai's journey he gets poisoned by a leech. While rapidly losing sight and bodily control he must administer an antidote. It is a scene of intense urgency, with fine acting by the younger Smith and solid support from his father who must keep calm amid Kitai's panic.
Many disciplines in Shyamalan's team here come together beautifully. The make-up for Kitai's swollen face is terrifying and convincing. The calm, mournful, hymn-like music of James Newton Howard offers a serene counterpoint to the desperation on the screen. The mood is further enhanced by Peter Suschitzky's more or less fixed camera position looking up at Kitai. And not least at the background, where nature plays beautiful support: trees are bending and towering over Kitai eerily, a wide angle lens keeping both foreground and background in focus, with a distortive effect.
A brilliant and "invisible" touch is that the worse the boy gets, the background is getting lighter, as if to signal approaching death. As Father announces Kitai have to administer the second and last stage, there is a marked difference in the background light. The angle is suddenly a bit steeper too, more directed towards the heavens, and the trees also look thinner, more precarious.
The shots that start the first and second stages of taking the antidote.
There also seems to be a discernible general brightening during the first stage (although not 100% consistent): judge for yourself in this addendum, which lists all 13 shots of Kitai from this camera position (shot 1-8 first stage, shot 9-13 second stage).
Three brilliant scenes II: The dream on the raft
You are alone in a wilderness where Man has been extinct for a thousand years. Not only that but you are on a raft in the middle of a river. Then suddenly a human being bends down over you. This author still remembers the exquisite feeling of disorientation from the following gentle shock (a slide show can be restarted from the beginning by clicking on the image to make it large and then return):
The above breakdown of the shot into its particulars shows that the effect does not only come from the girl bending down. It is extremely discreet, but the camera first closes in minutely and then gradually reframes the shot upwards, so both girl and camera are co-operating organically in a unified movement. The scene abounds with delicacy: first a disquieting shadow falls over him, then her hair enters the frame with bewildering effect. (The third stage, it can be difficult to see without enlarging.)
Then Kitai wakes up and discovers his sister Senshi sitting there, she who was killed by an Ursa with Kitai as a small boy a terrified witness.
He shows no surprise, however, and in a scene radiating warmth and acted with great delicacy, they are speaking softly for a while. Kitai eventually tells her that he is reading "Moby Dick", a novel that she and her father had been bonding over. He starts quoting from it…
…but here Senshi's attitude begins to change. She repeatedly interrupts him by imploring, more and more forcefully, to "wake up", until desperate measures are called for:
No more Ms. Nice Girl! In this two-second shot, delivering a ruthless jolt to both Kitai and spectator, Senshi takes on a demonic visage to frighten him into waking up. Not only is her voice turned into an inhuman shriek, but there is a visual whiplash: her head twists around to give her appearance a physical force too, while also hiding her disfigurement for a split-second. (For many viewings this author thought she merely applied a generic horror film face to do the job, but this is likely her actual death mask after having been mutilated by the Ursa.)
Kitai must be woken up because he has fallen asleep on the raft and a deadly cold period is coming fast. Is it just his subconscious manifesting a sense of danger as a dream, or is she a true apparition, a ghost? A spiritual messenger? Shyamalan keeps everything open.
The shot just before this scene (see slide show below) poses a fascinating enigma though. Is it merely a general passage-of-time-marking, atmosphere-creating, scene-establishing shot? Or does the downward movement of the camera, finally veering to the left as if towards the shadow, indicate a spirit searching him out? (Or is it the point-of-view of the giant bird that has been seen to follow him?) The fact that it is also breaking the pattern by being the only overhead shot in the film that looks down from some height – otherwise we are never higher than this or this – encourages us to bestow special significance upon it.
The first seconds on the raft are replayed near the closure of the film: in the repetition, in a tighter and more intimate framing, we (and he probably) finally get to hear her resonant words, which are another wake-up call: "You're still in that box. It's time to come out."
(top) original shot; (bottom) the framing of the replay.
Then the camera glides down, yielding the entire frame to him alone.
The final framing just adds to the general feeling of closure in the epiphany phase of the climax. Kitai is centred not only visually but emotionally, and the removal of the sister from the frame signals that he has let go of the unprocessed, crippling grief for her, and after the epiphany he is strong enough to cope with the world alone.
In the hostile environment of the film this 105-second scene is an oasis of serenity and warmth – an emotional equivalent to the planet's thermal hot spots. In a poetic, scaled-down mirroring of humanity's extinction on Earth ages ago, the girl's life was also extinguished, years ago. Jaden Smith is wonderful here, Shyamalan making great use of his naturally beautiful features, and has fine chemistry with a natural Zoë Kravitz as the sister.
The structure is also nice: the scene is bookended with two shocks, one poetic, one horrific. It also starts and ends with a wake-up call, for the reason he opens his eyes, even though from a dream-within-a-dream, is the fact that, after the initial inaudible whisper, her first line is: "Wake up. It's time for you to wake up." It also echoes Father's earlier command that Kitai must wake up after the paralysis that followed the poisoning, also in that case to avoid a cold period.
By the way, this is Kitai's quote from "Moby Dick" (imperfectly recalled, with his missed words in brackets): "All that [most] maddens and torments; all that stirs up the lees of things; all truth with malice [in it]; all that cracks the sinews and cakes the brain; all the subtle…" The full quote can be found here (item 3), with an explanation. It is supposed to be "the existential heart of the book".
Three brilliant scenes III: Caught in the cold and the aftermath
In a one-two punch, the dream scene leads to another high point, which is utilising the same strategy of elegant bewilderment. Here Kitai is staggering around in the plummeting temperature.
Finally he cannot take it any more and crashes to the ground. In another barely noticable touch one can see the ground getting progressively colder in the small area just around him, the special effects people working beyond the call of duty.
While the shuddering boy lies on the ground we see a shot from his vantage point, emulating a frozen stare. Letting such a point-of-view shot slide out of focus is a common device for indicating that the "looker" is about to lose consciousness. But here it has the added effect of indicating that his gaze is glacing over with cold, until we return to a closer shot of him with a dead stare.
This is a continuation of the last shot of the above slide show. His eyes have now closed and he looks finished. But now a laconic mystery starts to unfold: totally unexpectedly…
…his head is disappearing out of frame, as if by some resolute force of magic.
In the next mildly surreal shot, a mobile variant of the previous point-of-view shot, we see his surroundings go past while something seems to drag him along, until Kitai arrives at a darker, apparently warmer place.
An inventive take on the mobile point-of-view shot, made famous by Hitchcock, one of Shyamalan's heroes. The event is depicted with a detached otherworldliness and becomes even weirder by the methodical way the movement stops and starts three times during the journey. (The above simplified slide show leaves out most of these pauses.) The dragging shot lasts 16 seconds and added to the 14 seconds of the preceding close-up, this segment's duration and the hero's passivity help create a mood of frozen stillness.
The next day Kitai wakes up, warm and snug inside a web of thick vegetation. As he clambers out, we get a slow "revealing shot", whose foreground at first seems to be an unusual kind of rock formation covered with scales…
…but as soon as the camera reveals a strange bump we feel it must be something else, and then the camera pulls back while Kitai seems to become emotional and touches the object. Suddenly, there is an abrupt change to a high angle, revealing not only the object but also the fact that it is probably the same bird that attacked Kitai as he flew down from the clifftop:
The bottom image depicts the last situation we saw the bird clearly, mourning the death of its offspring, killed by the feline predators that attacked its nest.
Here a tender echo is set up: like the bird touched its offspring to check if they were dead, Kitai is repeating the gesture, touching the head of the bird, the next casualty in this chain of death.
The shot's perspective makes Kitai seem the same size as the offspring in the foreground. This effect might be intentional, for after having observed how Kitai helped defend its hatchlings against the predators, the bird has indeed adopted a guardian role for Kitai. This is why we have seen it in the air above Kitai on a few occasions. (It is also possible that it has eased his journey by taking care of dangers behind the scenes, something that could account for Kitai having encountered relatively few problems.)
The dragging-along scene represents the second time the bird has transported him to a nest, the first time as food, the next to save his life. The situation is also a repetition of Kitai's past trauma. In the flashback his sister hid him in the box before she gets killed by the Ursa. Here the bird has tucked him away in a nest before it perishes from the cold.
It is fitting that the box of the flashback, a terrarium, contains vegetation, which links it to the nest.
Like his sister sacrificed herself to save him, the bird seems to have done the same. The exact reason for its death is left unclear, however. Has it lost its will to live after losing its offspring? Was it injured fighting the predators? Perhaps this particular hot spot was very small, without room for a giant bird, and the bird perished in the cold soon afterwards? Was it already weak, and might that be the reason for the stops when it dragged Kitai?
Anyway, the episode seems a formative step on Kitai's road to resolution. The nest is a similarly enclosed space as the box. But instead of cowering like in the flashback, he stood up against the predators, the equivalent of the Ursa of his childhood, and tried to save the hatchlings. He now stands beside the bird pondering the self-sacrifice of his saviour, the equivalent of his sister. The film lingers on the situation, loading it with special emphasis during the final two shots of the scene:
The camera is closing in on him in a tender, slow and gentle movement, indicating that he is absorbing the importance of the situation…
…and then it rises majestically but still tender, into a high-angle shot linking it to these three important overhead shots.
Let us briefly go back to the out-of-focus POV shot. As a measure of Shyamalan's careful attitude to detail and coherence, in a shot that did not have to be more than an unspecific blur, one can make out the shadowy figures of several birds flying by (not discernible in the screenshot though). This underpins the idea that all living entities are racing to shelter from the cold, but it is also in preparation of the importance of the bird.
Also, in the dying seconds of the shot one can see a shadow grow bigger. Is that meant to indicate that the (generally dark, and black on the underside) bird is arriving to help Kitai?
While we are at it, let us finish off the bird business: the dogfight with the bird is very dramatic and the top image, stressing the similarity of the figures, could signal their future relationship of unity.
This is the last moment of the aerial scene: Kitai's point-of-view of the bird coming right at him at lightning speed in a split-second shot.
The miniature motif I: In the towering forest
The first shot of Kitai inside the forest.
After Earth tends to evade close-ups during Kitai's trek, and as for another technique generally regarded as involving, there is only one hand-held shot in the entire film. Instead Shyamalan is looking for a different kind of immersion. The boy is consistently shown as a minuscule part of the environment, not seldom merely glimpsed among trees and vegetation, while the forest is towering over him.
Incidentally, Peter Suschitzky was one of three cinematographers working on Figures in a Landscape (1970), one of Joseph Losey's weakest films but nevertheless interesting for its similar, often dazzling use of landscape, and he also shot Matteo Garrone's pastorally ravishing Tale of Tales from 2015. (Another parallel: the driving force behind both the Losey film and After Earth was its central actors, to whom the projects were highly personal, Robert Shaw and Will Smith, respectively.)
Consequently, there are very few shots from a great height providing an overview of the landscape. Granted, when Kitai has reached the clifftop there is a grand view of the forest stretching out below him, and there is also a similar vista as soon as Kitai has climbed the hill directly above the wreck. Both shots are taken from the level of Kitai's position in the landscape, however.
From a higher perspective, there are only two shots (here and here) from some height, both of the river and not yielding much overview. Much like we were totally locked in to the vantage point of the family trapped inside the house in Signs, we are confined to Kitai's experience of traversing the forest.
The second and third shots inside the forest: Kitai is in awe of an environment he never before has experienced. While the shot is lyrical the immense trunk is also overwhelming him.
The fourth shot inside the forest. The camera is elegantly closing in on the tree, transforming it into a chasm threatening to swallow us up.
Some of the most enchanting shots of the film feature the boy as just a tiny speck in the landscape. Here he discovers the (off-screen) remains of some apes, probably devoured by the roaming Ursa.
Kitai on his makeshift raft, one of the two shots from a bird's eye perspective.
Kitai starts to scale the mountain from where the distress beacon must be deployed.
Already on Nova Prime the miniature motif is in play: here Kitai meets his father for the first time in the film, a tiny figure who cannot measure up to the elevated (threatening) father since he has failed at becoming a Ranger. There is also a "miniaturised" Earth shot from a similarly elevated position, where the boy can be glimpsed just above the edge of the ancient dam where the camera is placed.
The miniature motif II: The receding principle
Another variation of the miniaturisation motif is when it occurs as a process within a single lingering shot. This turns out to be a governing principle of the film and is always used to set the scene for a momentous event. It starts already as Kitai is leaving the spaceship:
In Kitai's last shot inside, Shyamalan deliberately maintains this camera position for 23 seconds while the boy is receding into the distance, ending up as a tiny, helpless figure before the immense task facing him. In this type of shot the camera will usually follow him gently, but here, except for some adjustment, it remains immobile.
Here we follow him towards the tail section and then crane up. The main objective of this 24-second shot is to reveal the wreckage and the majestic landscape beyond, but it has the useful side effect of the boy virtually disappearing among the wreckage. (Here he is just by the tree to the left.) Again a big task is waiting: finding various devices and firing the beacon.
The all-important task of climbing the mountain to activate the distress signal is waiting, and again he is disappearing into the landscape, with the camera in slow pursuit. (This movement lasts 21 seconds, but the take is split in two, a cut-away to Father spliced in.)
Having reached the arena for the climax, we ought to expect something similar. And just as Shyamalan ordered, his first action after emerging from the shaft maintains the pattern. (On the narrative plane he looks for an escape route from the Ursa in hot pursuit.) The shot lasts 12 seconds, an ocean of time considering the drama of the situation, and the camera creeps a bit closer in the process.
In elegant closure, the motif returns in the film's last (18-second) shot, but since the task is accomplished it is only appropriate that Kitai, inside the ship, is now disappearing completely.
The early segment on Nova Prime is a weak part of After Earth but it contains an idea that is not only breathtaking in itself, but prepares a delightful visual rhyme:
In a 46-second shot (the film's second longest) we are in Kitai's room where Father tells him they will go on tomorrow's space trip together. Then the camera, which turned out to be looking in through the window, swoops out to gaze at the city, while we can see Kitai start packing his bags. (At the end he is still visible through the window of the next-highest floor.)
Then on Earth, as Kitai has reached the clifftop, there is a very similar helicopter shot (11 seconds) pulling away from him and taking in the surroundings.
An alternative view of the visual rhyme (click on image to enlarge).
Both shots come at pivotal moments: next Kitai is going on a space mission; soon Kitai will jump off the cliff. (In an amusing echo, Kitai is about to fly both times – the last time on his own power, using the wings of his uniform.) They are both leisurely intermezzi before dramatic events and end with a dwarfed Kitai – yes, this sounds familiar: it is essentially the same device as in the previous examples, except that the dwarfing of Kitai does not happen through him receding from the camera, but the camera is moving away from him.
The receding variation of the miniature motif is so deeply embedded in the film that in itself it is difficult to spot. It can hide in the narrative because it always plausibly coincides with a natural action from the character. It was only late in the process, after many viewings, when I started looking at a complete screenshot gallery to systematise types of shots and formal devices, that the type of the receding character was uncovered.
On the other hand, the visual rhyme of the helicopter shots was easy to pinpoint on early viewings due to their dazzling visual impact. But it was precisely this grandstanding that made them resistant to being seen with the same analytical eye as the quieter shots. The camera instead of the character moving also made it harder, of course.
But with these new eyes, suddenly another scene can take its rightful place as a cog in the film's governing machinery, namely the climactic three shots of the final replay of Kitai's trauma flashback:
The three shots have a total duration of 11 seconds and are melted together by ghostly dissolves.
Again Kitai is miniaturised, by a (different type of) camera movement. The narrative position directly preceding Kitai's epiphany means that also this instance of the motif is "signalling" a pivotal event. (The last stage of the epiphany is Senshi's apparition saying: "You're still in that box. It's time to come out," directly connecting to the above scene.)
The box keeps Kitai safe but also traps him. In similar fashion the teenaged Kitai is trapped inside the trauma of his childhood. He is still the little boy fearful of the big world with all its threats, with the Ursa embodying his fear, uniquely equipped to sense it. Kitai's psychological state could explain the presence of the receding miniature motif, resizing him constantly into that little boy. (Since the flashback is constantly replayed in Kitai's mind, and in the film, After Earth scores a subtle point by showing there is an actual recording of his defeat of the Ursa – a physical recording replacing a recording of the mind, healing replacing trauma, and which in similar fashion can be perennially replayed.)
Coming to think of the flashback: the fact that Kitai is towering over the vegetation inside the box, makes this a grotesque reverse foreshadowing of the conditions on the Earth of his future, where it is nature that will dwarf him.
In summary, the receding motif appears before the following events: leaving his planet, leaving the spaceship, jumping off the cliff, arriving at the tail section, arriving at the mountain, reaching the plateau of the climax – and preceding the epiphany, and leaving Earth in a healed state.
The lingering pace of the shots seems like a smaller-scale version of Shyamalan's tendency in his early films to heighten tension by slowing things down, at certain moments in a film that must to a certain degree to conform to a mainstream sensibility and pace, with an average shot length of just under five seconds.
The miniature motif III: Merging with a landscape
Another sub-motif is the presentation of Kitai as a figure often merely glimpsed as part of a tapestry of vegetation, almost entirely swallowed up by the surroundings:
This is pervasive in the forest, but also maintained when Kitai reaches the tail section of the ship, where we see Kitai through a latticework of debris, like the foliage in the woods.
Can you spot Kitai in this slide show?
Even inside the mountain there are fragmented rock formations that serve the same purpose as the foliage. (They are also needed to deny the Ursa freedom of movement when it attacks Kitai.)
Making a raft, the whole time firmly entangled with the landscape.
The miniature motif IV: Figure in a landscape
There can be no doubt that long shots are overrepresented in After Earth. We will close the investigation into this motif with a collection of shots portraying Kitai as a figure in a vast landscape.
A slide show of "miniature shots".
The miniature motif is resolutely marching into the climax.
In the sickbay at the very end, Kitai enters the scene as a tiny figure, and he is seen on the screen in ultra-miniature.
The following is the film's most beautiful visual rhyme. It also indicates a meaningful evolution, since the shots get progressively more bare, more essential:
Viewing the last two overhead shots from start to finish yields the satisfying effect of showing Kitai falling and then rising again, a trajectory encapsulating his story. Snow and frost also connect the shots.
The embrace echo
We talked a little about embraces in the first article. There is a quite extensive pattern at play here.
First husband and wife are embracing in a Nova Prime scene, the wife needy and the husband decidedly guarded.
In contrast, in the hangar before spaceship take-off there is a warm embrace between Kitai and his mother.
A veteran who has lost a leg still insists to be helped up and delivers a proud salute to Father, who once saved his life…
…but as he falters, in severe pain, Father hurries over to grab him. Kitai is observing all this.
After take-off Kitai is sending Father warm and excited glances, but there is no real intimacy…
…when they are going to sleep, nearly all passengers are seen to rest their heads backwards, but Kitai leans his head against the strap-in pad, looking melancholy and yearning.
It is tempting to recall the hangar scene, where although Father was just helping the veteran, he was seen leaning his head on Father's shoulder, in some sort of bittersweet comment on the many other hugs in the film. Is Shyamalan massaging our subconscious here? The action represents the intimacy Kitai is craving, but he has to settle for leaning against an object, while the episode with the veteran also underlines the fact that the way to earn his father's respect and affection is through military prowess.
After the crash, Kitai first clings to Father while the latter is unconscious, and then there is a long embrace just before he leaves she ship.
At the very end in the sickbay, it is Father's turn to insist to be helped up. Father saved the veteran's life, now Kitai has saved Father's life. But unlike the earlier situation, Kitai does not answer Father's salute…
…he just runs over and in the embrace rests his head on Father's shoulder, like the veteran did…
…and now, finally, there is an embrace with no reservations at all…
…very unlike the film's first embrace, or before Kitai started on his trek.
It is telling that Kitai could not care less about the salute – the highest honour his father can bestow on another person, and something that Kitai craved at the start of the film – he just wants to embrace his father. The film's last lines – Kitai: "I want to work with Mom."; Father: "Me too"– seem to be more than the usual standard, self-consciously lame joke where the generic hero pretends the mission has been so strenuous that it would be better to quit.
It sounds like a genuine decision, from both of them, to leave the special status of military life for a quieter life with his mother. Father also announced his coming retirement at the start of the film. Kitai is thus eschewing his newly acquired ability of ghosting, and not least his status as a celebrated hero, through defeating the Ursa. He seems already to have won fame, just see the awe in the look of the Ranger who plays a recording of the killing, made by Kitai's backpack camera.
There is no overt criticism of military life and values in After Earth, but there is at least an ambivalence. Kitai looks up to Father, but there is the parallel of the veteran, who also worships Father, but military life has left him physically ruined and their mutual salute ends in pain and humiliation. And Father's salute to Kitai at the end is simply ignored. If After Earth was meant as a gung-ho celebration of heroism it is awfully muted.
They are perfectly aligned in agreement that a quiet life working with Mom is a great idea. This takes the notion of them thinking as one person, which started with the development of a "mystical" connection even when communication was down – discussed in the first article (starting in earnest here) – to its conclusion.
The last we see of Kitai is a 24-second shot where the camera gradually excludes Father, indicating that the boy is now able to stand on his own legs in life. (This could fruitfully be seen in conjunction with the last reframing of his face, which excludes his sister, in the dream on the raft.)
Visual rhymes
In the first article we already discussed the climbing and the cliff as echoes that help create closure. And we have so far pointed out the rhymes of Senshi's whisper, the helicopter shots and the overhead shots. There are more, however, in the structural network of After Earth.
Important objects are of a similar shape: spaceship, backpack, distress beacon.
The firing of that distress beacon and its aftermath employ light as an elegant motif (as demonstrated in the slide show below): The beam shooting up from Earth is transformed into a blue circle that spreads outwards. It ends with a blinding flash, and then light motif returns in the glow from a cutting device opening up the spaceship – the darkness seems to indicate that it has now lost power (conveniently to allow the upcoming light play its part in the mise-en-scène) – and then it is the turn of the rescue team's flashlights to participate in this relay of lighting. In nice contrast, the next scene opens with the overwhelming brightness of the sickbay.
If we turn out the last view of the blue beam on its head, it is easier to see a nice touch: it leaves the frame at virtually the exact point where light enters the frame in the next shot.
During the epiphany Shyamalan fixates on Kitai's bloodied hand. Blood was central to Father's epiphany of his first ghosting too, according to his monologue: "I can see my blood bubbling up mixing with the sunlight shining through the water. And I think, 'Wow that's really pretty'. And everything slows down."
So this mixture of the dreadful (the blood) and the beautiful (the vision) is undeniably important, like Kitai is using the bloodied hand as an instrument in grounding himself. Let us then chase down the small but persistent hand/blood circuit running through the film.
Kitai's hand is reminiscent of the powerless hand of the corpse in the Nova Prime "history lesson" at the start of the film.
Top from left: Kitai's hand after he has moved Father after the crash; Father's hand after he has opened his thigh; (bottom) to put in the bypass.
Finally, some other significant hand business: the spider on Kitai's first climbing session; the leech; and its poison spreading.
After the film's hyperdramatic start (more about that here) with the spaceship in distress and Father blown away by an explosion, there is a sudden cut to Kitai lying on the forest floor (below). We could believe he was thrown out of the spaceship by the crash, but the shot is actually from the aftermath of the poisoning much later in the film. (Technically, I guess this makes the entire film until we catch up to that point a flashback, but I have chosen not to treat it as such in these articles.)
From this position he ostensibly gives us a "history lesson" in voice-over about how humanity found a new home on Nova Prime after having had to escape Earth.
Top: the "history lesson" shot; (bottom:) Kitai sleeping off the paralysis, an after-effect of the poisoning. The shots seem to be from different takes. Not only is the ground much less trampled. We also see that the flower (which could be a pansy) in the foreground of the top shot has disappeared. It is possibly planted for poetic effect, its serenity in contrast to his pained body.
Perhaps it is possible to compare it with another "flower", from that very history lesson, a dead tree adorned with impaled humans, done by the the Ursa.
The dissolve ending the history lesson is not without bittersweet poignancy: its final shot is a triumphant image of Father in his prime, having just killed an Ursa, but the dissolve merges him with his fallen son, the fate of the great man and lineage ending in humiliation and disaster on Earth.
More rhyming: turning point echoes. (In the first case, Father wants him to turn around to return to the ship, so it is a "real" turning point too.)
Both the bird and the Ursa drag Kitai out of shot in similarly shaped compositons.
"Take a knee."
As we have pointed out time and again in these Shyamalan writings, his perhaps greatest strength lays in mise-en-scène. Within the confines of this type of film, which demands a far less formally adventurous approach, it comes across in After Earth on a smaller scale, in shorter and less visually stylised shots.
In the first article we already discussed the "curtain" scene directly after the crash, one of the best, and very Shyamalanian, visual ideas of the film. We also looked at a couple of scenes inside the tail section as examples of how his camera, even though somewhat distanced, behaves like a living, sensitive, intelligent being – not something that is merely pointed at the action to record it, but an entity that is breathing together with it. So let us complete the picture.
On an intimate scale: the cut between these shots is made on doors – Kitai leaves the officer in charge of promotion in shame, cut to Father entering his home, precisely the person whom Kitai has to face with his failure.
On a more expansive scale: after having shaken off the pursuing apes, the camera is gliding with Kitai and finally rises in an elegant flourish.
The film's most beautiful moment is made even more engrossing by the lingering crane movement closing in on the ground.
Father's monologue about his first ghosting is told through long takes, interspersed with lingering cut-aways of a spellbound Kitai. (The 61-second start of the story is the longest take in After Earth.) Both father and son is captured with an unmoving camera, bonding them, but after Father have finished recounting his epiphany he says: "I don't want that in there any more," (about the attacking Ursa's pincher in his shoulder). At this turning point of his story, the decision to act, something happens:
The camera starts sinking almost imperceptibly until it ends in the position in the bottom image. Another very Shyamalanian idea, just on a smaller scale. (It is probably the holographic map of the area we see in the foreground, so the movement is connected to Kitai's task, in which he too must master his fear.)
After Earth has been criticised for Father's static part in the story, but it should be noted that Shyamalan employs various means, large and small, to compensate. This is a 33-second slow forward movement, recording as it is "passing through" the holographic map showing how the probes are employed, then how they land and transmits ground data, while Father is briefing Kitai about the trek (about hot spots for example).
Here is a more discreet movement, underpinning Father's dizziness after having inserted the arterial shunt.
We talked a bit about focus racking in the first article but it also provides visual stimulus around Father, here two examples.
On the whole, the holographic representation of various instrument panels, very often intruding between the actors and the lens, creates quite a lot of visual variety, also for the spaceship crew (bottom shot).
It can be slightly surreal at times: here Father looks at the visual transmitting from a probe.
One of the film's most moving moments is this shot of the spaceship window, with the camera approaching gently while the ice has started to melt and slides down the window. Both the movement, in camera and ice, and the melting itself, prefigures the inexorable moment when Kitai has to leave the safety of the ship…
…and the emotional power is heightened since it follows this shot, where the camera is echoing the forward movement and the sadness of the characters is translated, Kuleshov-like, into the tears of the meltwater on the window. The scene is also accompanied by mournful music (the same as in the poisoning scene).
As so often in Shyamalan, even in these more mainstream efforts, there is a stimulating use of the depth dimension, with full activation of background and foreground. Here Kitai is chased by the apes, storming right towards us.
A more striking example of the same type of approach shot, a little later, with the camera waiting for him to rush all the way from the treeline up to the lens. Here the camera also demarcates a goal line, since the apes apparently do not like water and refuse to follow him.
Here the position is again held until Kitai arrives into a close shot – holding back information, raising curiosity by refusing to show us the view that Kitai obviously gets excited about as he is coming up – and then reveal finally comes, through a majestic cut. (The far-away plume of smoke comes from the mountain, the arena-to-be of the climax.)
Here a reveal happened through a cut. Moving the camera, however, to gradually reveal salient elements of the narrative is often more elegant and part of any director's toolbox. Shyamalan's use of it is not in any way revolutionary but is applied with unfailing elegance.
It is not as important in After Earth as in its "companion film" The Last Airbender though, where it is an extremely consistent part of that film's visual strategy. In this and the first article we have already discussed the helicopter visual rhyme, the reveal of the bird, as well as Kitai's approach to the tail section revealing the wreckage and the landscape beyond, and his movement through the tall vegetation to the field in front of the mountain of the climax.
We shall end this article with some other examples, which provide the bonus of an often beautiful tour of yet unseen parts of After Earth. (The revelation of the Ursa waiting for Kitai in the cave, perched high above his head, is also nice but the scene is too dark to reproduce very well in screenshots.)
After the climb directly after leaving the spaceship, our full view is delayed so we can share his exhilaration about the landscape.
After a cut-away to Father inside the spaceship, vast herds are revealed in pastoral beauty.
After another cut-away to Father, Kitai marvels at the sight of birds forming enormous patterns in the sky.
Shyamalan holds back information but eventually slides the camera down to reveal what Father is doing.
We see Kitai arriving among the bushes before the camera slides down to uncover remains from a possible Ursa kill.
Kitai stands frozen in the far distance but it is not until he has left that the camera sinks down to reveal his discovery. Most directors would have cut to a close-up somewhere in order to feast on Kitai's shocked expression, but Shyamalan is operating on a more restrained level, unnerving us in a more profound way. The eeriness of the camera movement in itself plays an important part.
This slide show documents an idea similar to the shot where the camera follows Kitai through the tall grass and then reveals the field before the mountain. Here the nest with Kitai inside is attacked by predators, but when the giant bird drags the big cat out, instead of cutting to the outside, the camera travels through the entrance and peers out to follow the action.
Kitai has arrived at an ancient dam and the camera looks further up in the sky, capturing the giant bird that seems to follow him.
The camera lingers on the breathing fluid vials (just one left) before it looks up at the map, which helps Kitai calculate how much of that fluid is needed. It also performs a comparison between his modern equipment on the ground and the map, which continues the tradition of the prehistoric paintings in the cave. (Earlier on he saw flows of lava within the cave system, which may explain the cause of the hot spots on the surface.)
Kitai exits the cave again and the camera starts to glide towards a river…
…and in one fell swoop takes in some animals, a waterfall and the omnipresent bird. The animals are presumably the same that led him to the entrance of the cave system and now have led him out again at another place. (Showing the animals here thus has a subtle narrative function.)
Let us move into space, to the scene where the mortally wounded ship is looking for a place to land. On closer inspection, this brief six-second shot turns into a surprisingly intricate and inventive ultra-short film in itself. First there is a blue outline which seems to be the ship, together with some faintly glinting spots…
…but suddenly as if a curtain is drawn, a planet appears…
…and now the spaceship enters – the blue in the first shot turns out to have been merely its reflection in an enormous screen hiding in the darkness of space…
…as the ship is passing, red alarm lights are set off, warning that Earth is a quarantined planet…
…while the contraption tilts and turns, creating a giddy kind of topsy-turvy feeling. The sight is accompanied by a sudden, highly evocative metallic shriek on the soundtrack.
We round off these two articles about M. Night Shyamalan's pleasurable film After Earth with another stirring shot from beyond the heavens, where a ship modeled after the aquatic ray is about to swim in the sea of space.
Addendum A: The 13 poisonous shots
Here are the 13 shots of Kitai in the poisoning scene from a certain camera position (shot 1-8 details the first stage of administering the antidote, shot 9-13 the second stage).
Addendum B: The start of the film
The opening of After Earth is quite audacious, possibly so as a creative way of implementing cuts deemed necessary due to poor test audience reactions and the need to have an exciting start. It works quite well, however. There are marked contrast in sound level. The company logos are silent, abruptly followed by the ear-wrenching cacophony inside a mortally wounded spaceship.
Over this we see three snippets of the 26-second scene about 21 minutes into the film where Father is calming a panicked Kitai as the spaceship is heading for an emergency landing on Earth. The alarmed voices on the soundtrack belong to the pilot and navigator, but their exclamations are taken from the previous scene in the cockpit.
Father is blown away by an explosion and next we see Kitai lying on the forest floor, as if he was thrown out of the ship on impact. But this is taken from the aftermath of the poisoning and occurs at about 43 minutes. Contrast in sound continues for this shot is dead silent. Then his voice comes on the soundtrack, kicking off the "history lesson" with the historical backdrop for humanity leaving Earth and settling on Nova Prime.
Top: Kitai as he lays before and after the history lesson; bottom: Kitai as he falls to the ground after having taken the antidote for the poisoning.
Interestingly, these two shots seem to be from different takes – even when he will eventually come to rest on the ground in the continuation of the bottom shot (we don't get to see that) it is hard to believe that he can end up in the position of the top shot.
Read next: Norwegian films, buildings and landscapes make a strong mark on the inaugural edition of Architecture Film Festival London Next article
©2020 Montages AS
Editors in chief:
Karsten Meinich and Lars Ole Kristiansen


text:
Q: Passing Self in a static function I am using migrating from Objective-C with MagicalRecord to Swift with CoreStack (being used as the Core Data framework). And the CoreStack has the following API to fetch a record, something like the following:
CoreStore.fetchOne(From<NSManagedObject>, Where("id == '123'))

I have a base class for my NSManagedObject's - Record, and would like to have a static function that returns a record (of any subclass) with ID:
class Record : NSManagedObject {

   static public func find(id: String) -> Self {
      CoreStore.fetchOne(From<Self>, Where("id = '\(id)'"))
   }

}

class Person: Record {

   var id: String?

}

Use:
Person.find(id: '123')

But I cannot find a way to pass 'Self' class to this function. Mostly what I get is an error: Cannot explicitly specialize a generic function
I tried to use a global function (not a method), so there is less restrictions:
public func findRecord<T: Record>(id: String) -> T {
    return CoreStore.fetchOne(From<T>, Where("id = '\(id)'"))
}

That is used in the Record class like this:
static public func find(id: String) -> Self {
    find<Self>(Where("id = '\(id)'"))
}

And all to no avail. I would appreciate any ideas or pointers!
Updated:
class Record : NSManagedObject

*

*also added example for global function

*here is the link to sample project

A: You cannot directly use self in a static function because self refers to an instance where static functions / properties refer to the class itself.
Consider the line Person.find(id: '123'). Is 123 a property that is exactly the same on every Person object or does each Person have a different id? Currently id is the a property of the instance. Every Person object can have a different id. If it was a class property then every single instance would have the same id.

A: Thanks to Reinier Melian, the answer is rather simple:
class Record : NSManagedObject {

   static public func find(id: String) -> Self {
      CoreStore.fetchOne(From(), Where("id = '\(id)'"))
   }

}

class Person: Record {

   var id: String?

}

Somewhere in the CoreStore:
public static func fetchOne<T>(_ from: From<T>, _ fetchClauses: FetchClause...) -> T? {

     return self.defaultStack.fetchOne(from, fetchClauses)
}

The solution:
Just remove the brackets <> and let the compiler infer the type.

redpajama_set_name: RedPajamaStackExchange


text:
In a recent New York Times article about the King of Jordan, the King discussed an episode of Dharma & Greg which explored some of the issues he faces in running his country. Can I just tell you... this makes me very happy. I mean, c'mon, the King of Jordan watches our show and finds wisdom in it! Not the King of Big Screen TV's, mind you -- the King of Jordan! Now if Sting is right, and we live in a universe of synchronicity, it then follows that a single episode of Dharma & Greg could bring peace to the Middle East. It could even bring peace to Sting. Heck, as long as I'm chasing this pussycat, let me just ask, are there any more world leaders out there watching the show? If so, please feel free to contact me directly. I know you're busy and can't watch every week, so we'll discuss your problems and then determine which episode of D&G would be best for you to watch. Who needs think tanks and big shot consultants? The reason you guys are world leaders is that you know where the truth is: Dharma & Greg, the sitcom fit for a king!
1st Aired: 29 Feb 2000

redpajama_set_name: RedPajamaCommonCrawl


text:
Suszno – dawna gromada, czyli najmniejsza jednostka podziału terytorialnego Polskiej Rzeczypospolitej Ludowej w latach 1954–1972.

Gromady, z gromadzkimi radami narodowymi (GRN) jako organami władzy najniższego stopnia na wsi, funkcjonowały od reformy reorganizującej administrację wiejską przeprowadzonej jesienią 1954 do momentu ich zniesienia z dniem 1 stycznia 1973, tym samym wypierając organizację gminną w latach 1954–1972.

Gromadę Suszno z siedzibą GRN w Susznie utworzono – jako jedną z 8759 gromad na obszarze Polski – w powiecie włodawskim w woj. lubelskim na mocy uchwały nr 17 WRN w Lublinie z dnia 5 października 1954. W skład jednostki weszły obszary dotychczasowych gromad Suszno, Korolówka wieś, Korolówka kol. i Szuminka ze zniesionej gminy Włodawa w tymże powiecie. Dla gromady ustalono 10 członków gromadzkiej rady narodowej.

1 stycznia 1958 gromadę zniesiono, włączając jej obszar do nowo utworzonej gromady Włodawa w tymże powiecie.

Przypisy

Suszno

redpajama_set_name: RedPajamaWikipedia


Welcome to the web pages of the Center for Soft Matter and Biological Physics!
This interdisciplinary research Center was established in February 2016, and is administered by the Department of Physics in the College of Science. Its mission is to advance the rapidly growing research areas of soft matter and biological physics. Special attention will be extended to how these developments can address many of the most significant problems currently facing society, for example effective drug design and delivery, next generation materials, programmable biology, and models for human disease.
We trust these pages will provide you with useful information about our Center's members, with faculty presently from eight different departments across the university; our exciting research projects; and ongoing or planned scientific and educational activities. If you are a researcher or student interested in this Center or any of our groups' pursuits, please do not hesitate to contact us!
We gratefully acknowledge support for our activities through the Departments of Physics, Biological Sciences, Chemistry, and Biomedical Engineering and Mechanics; the College of Science; and the Office of the Vice President for Research and Innovation at Virginia Tech.


If you have a child with a bleeding disorder, the relationship that your family forms with a hemophilia treatment center (HTC) nurse is paramount.
When an HTC nurse moves on—because of retirement, promotion, maternity leave or countless other reasons—it can be tough for the families who rely on that nurse. Following these steps can make the transition to a new nurse less overwhelming for everyone involved.
1. Have confidence in the new nurse.
While your nurse will be different, his or her training will probably be similar to your former nurse's training. Partners in Bleeding Disorders Education provides comprehensive, broad-based education to support the treatment of bleeding and clotting disorders in the US HTC network, at no cost to nurses. "Every nurse that comes through our program learns how an HTC should operate and their role within it, which should provide some comfort that your new nurse has been trained and taught in a similar way to your former nurse," says Natalie Duncan, MPH, partners program coordinator at the Indiana Hemophilia & Thrombosis Center.
As soon as you're assigned a new nurse, arrange a meeting—ideally with the former nurse as well. "That's a great opportunity to pass the baton," says Duncan. Come armed with a list of questions and concerns. Be as honest as possible about everything you need to know so you can leave the first meeting with assurance.
3. Be open about your concerns.
5. Realize that things take time.


10 Creative Confetti Ideas for Your Wedding Ceremony Exit | Wedding Ideas ARE YOU A VENDOR?
You don't have to be showered with rice as you make your wedding ceremony exit! Here are a few of our favourite alternative confetti options.
After you've officially tied the knot it's time to head to your dressing room to prepare for your wedding reception. As you make your wedding ceremony exit you'll be met with cheers, claps and a possibly a showering of confetti. While rice is the traditional confetti choice for weddings - it's meant to bring the newlyweds prosperity, fertility and good fortune - there are tons of other options worth exploring.
Here are a few of our favourite confetti ideas for your wedding ceremony exit.
Are you a couple that loves to travel? Put your paper folding skills to work and create dozens of colourful paper airplanes for your guests to toss. This wedding ceremony exit idea is sure to be fun for all ages of wedding guests and should make for some friendly competition to see which ones fly the highest and furthest.
Flower petals are such a versatile wedding decoration. You may have asked your florist to scatter a few on your dessert table or to lay some on your aisle to give it that extra oomph, so what's adding a few more to your order for your wedding ceremony exit? Choosing your confetti petals is a pretty simple process, just look to the bouquets and arrangements you've already crafted, use the main shade in your colour scheme or stick to white (it's a foolproof, wedding-friendly option).
Give your big day a bit of childlike whimsy by being pelted with pom poms as you leave your venue. These soft little decorations are an inexpensive and colourful way to jazz up your wedding ceremony exit. Tip: you'll probably want to err on the smaller size with these guys - even if big ones look amazing, you probably don't want to be smacked in the face with a softball-sized pom pom.
If you really want to capitalize on all things lovey dovey on your wedding day, why not have your guests shower you with some heart-shaped confetti as you make your exit? You can use just about anything to craft them - from maps to comic books to pages from your favourite books.
Bird seed is an eco-friendly option that works just as well as rice, paper or pompoms. Not only will you get the magical celebratory exit you've been dreaming of, but your feathered friends will get a stellar post-ceremony snack. Bonus: you won't even need to ask your cleaning crew to take care of this one - and they'll thank you for it.
Want to give your wedding ceremony's grand finale a bit of sparkle? Make your own magical pixie dust with cones of glitter. This budget-friendly option will leave you and your brand new spouse glowing - literally.
Always a crowd pleaser, blowing bubbles is a whimsical way to be showered as newlyweds. Bonus: there will be no sweeping up required and your younger guests will be kept entertained at your cocktail hour- they can keep blowing bubbles to their heart's content.
Fresh herbs aren't just for cooking! They can easily be transformed into confetti, too. If you want to infuse your wedding ceremony exit with a little more meaning, we suggest doing a little research before setting your herb selections in stone. Oregano (which signifies joy), mint (which signifies virtue), sage (which signifies wisdom) and lavender (which signifies devotion) are all great options.
Inject your wedding with some boho flair by turning to Mother Nature for help. From trend-forward eucalyptus to red and yellow-hued maple leaves, you've got a bevy of options at your disposal. This works perfectly for duos who have chosen a nature-y theme or want to bring a bit of the outdoors inside on their big day.
Can't decide on just one type of confetti? Do it all! Have your guests put together their own mix of ribbons, glitter, paper, petals and the like. Make sure that all the colours you choose work together so that you end up with some stunning wedding ceremony exit photos.


Hill and Griffith's Premier AW Hydraulic and Lubricating Oils were designed to meet or exceed the most demanding requirements of equipment manufacturers for heavy-duty hydraulic applications. From CNC machine tool applications to precision plastic injection molding operations, where higher pressures, temperature extremes, and increased speeds exact the greatest demands on a hydraulic fluid, the Premier AW series of hydraulic oils will provide maximum latitude for long term performance.
Hill and Griffith's Premier AW Hydraulic Oils are formulated with the highest quality refined paraffinic base stocks existent in our industry, and are then fortified with the most effective anti-wear additives and rust/oxidation inhibitors available. They offer superior long term thermal and oxidation stability along with both exceptional water tolerance and hydrolytic stability, as affirmed by the AFNOR Filterability test demonstrating minimal filter blockage after running 300 hours in a Denison T6C vane pump with 1% water.


text:
British watchdogs creating a register to fight property money laundering
The British government is going to create a special catalogue to register beneficial owners of foreign companies through which local real estate is bough. The authorities believe that such a register is necessary to combat money laundering and tax evasion.
Images Money via flickr
The UK Ministry of Business, Energy and Industrial Strategy (BEIS) announced plans to create a special register of beneficial owners of foreign companies. This kind of companies is used to purchase or sell British real estate or apply to participate in government tenders. The Ministry notes that such measures are necessary to fight those who want to launder funds by buying property in the UK. "Offshore companies that give incomplete information about their real owners have attracted those who want to hide illegal funds and legalize them. From 2004 to 2014, under the investigation were real estate objects for a total of £ 180 million, which could be purchased with funds obtained as a result of corruption. In January 2016, the National Crime Agency found a scheme through which offshores, followed by the purchase of real estate in London, laundered £ 12 million stolen from Commerzbank. The secrecy of the offshore companies makes it difficult to investigate real estate owners. A higher level of transparency should simplify work of law enforcement agencies and make it more difficult for criminals and corrupt officials to use the UK to conceal or launder funds".
In this regard, the Ministry proposes to create a register, which will list real owners of all types of companies through which transactions for the purchase or sale of British real estate are made. Identification of the company's beneficial owner will be based on several factors: direct or indirect ownership of 25% or more of the company's shares, direct or indirect ownership of 25% or more of the company's voting rights, direct or indirect authority to appoint or remove the majority of the company's board of directors; other forms of "direct or indirect right to exercise control or influence over the company or its trust, or any other legal entity that has the rights indicated above". In addition, the beneficial owners of companies will be included in the register through which applications for participation in state tenders for the sum starting from £ 10 million are submitted.
The Ministry will be receiving comments and wishes from citizens on the proposed plan until May 15, inclusive. It is reported that timing of transformation of the proposals into a bill and the law will be aligned with particular laws and rules, including with the fourth EU Directive on combating money-laundering, which encourages all registered companies to collect information about their beneficial owners by June of this year.
The Ministry's proposals to create the special register have become another initiative of the British authorities to identify those who are trying to launder funds in the country. In May last year, the watchdogs introduced a draft law, according to which all foreigners who purchase housing in London with funds significantly exceeding their official earnings will be forced to disclose sources of income.


text:
TIFF Spotlight: Maple Pictures' Buried
(From Tiff.net): One man, buried underground, with only his wits and two gadgets to save him. It's a high-stakes thriller carried off with such technical brilliance and polish that it would make Alfred Hitchcock proud.
Paul Conroy (Ryan Reynolds) is a US civilian truck driver on a contract assignment in Iraq. An average family man from smalltown Michigan, Paul is just trying to earn enough money to keep food on the table back home. But when his convoy is attacked by Iraqi insurgents, all that fades to black as he's knocked unconscious.
As he awakes in a dark, confined space, Paul is horrified to find that he's been buried alive in a coffin. With no idea who put him there or why, he must race against time to figure out how to free himself from this nightmarish prison. He has a cigarette lighter to offer brief moments of illumination. He has a BlackBerry. Why his captors have left him with that isn't clear until it rings. They let him know they are demanding five million dollars in ransom before nine o'clock that night or he will be left to die. But why him? As he struggles to understand the circumstances that landed him there, he must also try to find ways to satisfy or outwit his kidnappers before the deadline. With limited battery power, spotty signal reception underground and a dwindling air supply, Paul has ninety minutes to solve this riddle before becoming permanently buried.
Director Rodrigo Cortés sets a high bar for himself with Buried. If the challenge of keeping a story rushing along while confined to one space may seem impossible, Cortés meets it. With incredible cinematography by Eduard Grau (who also shot Tom Ford's A Single Man) and masterful editing by Cortés himself, Buried nods to Hitchcock's classic film, Rope, using the limitations it set itself as a bold challenge. Technically masterful and told with great verve, Buried invents new twists at every turn.
Screening times:
Tuesday, September 14 – 9:00pm – Ryerson Theatre
Wednesday, September 15 – 12:30pm – Varsity 8
OBA Institute 2012 – Entertainment, Media & Communications Law Program
From February 9-11, 2012 the Ontario Bar Association's annual Institute will be taking place – and on Friday, February 10, […]
Scot and Sam Rock the Tribeca Film Festival
Horns up to Scot McFadyen and Sam Dunn of Banger Films: their most recent documentary, Rush: Beyond the Lighted Stage, just […]
Online Endorsements and "Astroturfing"
By Margot Patterson


Helen has been sick a lot lately.
Vadim hardly ever speaks to Johnnie anymore.
Rodney doesn't study as hard as Al does.
Sanity is back from Boston.
Barrio didn't even try to pretend that he liked Scott.
I know how you feel, Kathleen.
Vice carried out the plan.
Sergio was sick, so he couldn't come to my birthday party.
Hirotoshi handed a glass of wine to Arne.
Kinch said he felt sorry for Donnie.
Ravindranath doesn't know when Jennifer will visit Boston.
Gregg didn't hear the rooster crow.
Peggy found a Roman coin.
Valeria was sent to meet the warden.
Arlene is a very good cook.
I don't see Tarmi a whole lot.
Johnnie is cool, isn't he?
Everyone except Elisabeth was wearing a tie.
I don't know why Pratapwant didn't just tell us.
Doug wore a white shirt.
Ron is slender, isn't he?
I'm sure Barrio will make you proud.
Are you sure that's Floria?
Terrence couldn't imagine himself shooting anyone.
We should give Blaine a chance to confess.


Electronics include Furuno Nav Net Radar/Chartplotter/Log, Raymarine ST7001+ Autopilot, Raymarine VHF, KVH TracVision System.
This is a very popular two stateroom/two head configuration, full galley, and large spacious main salon. The salon Ultraleather sofa has an electrically operated slide-out full size bed. The cockpit has a wet bar for entertaining.
Water Solutions spent the first 10 years of her life on a fresh water lake in Texas and is in amazing condition. Current owner is extremely meticulous and it shows, anyone looking for this type of vessel will not be disappointed!
Call today to schedule and appointment, viewings available seven days a week!
West Florida Yachts would love to guide you through a personal showing of this 46' Sea Ray 460 Sundancer 2003. This yacht for sale is located in St. Petersburg, Florida and priced at $239,500. For a showing please contact us by filling out the form on this page and we will get back to you shortly!


text:
package com.topie.spi.store;

import javax.activation.DataSource;

import com.topie.api.store.StoreDTO;

public class MockInternalStoreConnector implements InternalStoreConnector {
    public StoreDTO saveStore(String model, DataSource dataSource,
            String tenantId) throws Exception {
        return null;
    }

    public StoreDTO saveStore(String model, String key, DataSource dataSource,
            String tenantId) throws Exception {
        return null;
    }

    public StoreDTO getStore(String model, String key, String tenantId)
            throws Exception {
        return null;
    }

    public void removeStore(String model, String key, String tenantId)
            throws Exception {
    }
}

redpajama_set_name: RedPajamaGithub


text:
PlayStation 5 Owner Demonstrates How To Make Console Less Of A Chungus
Published 12:20, 25 May 2021 BST
Ah, I remember the PlayStation 5 reveal like it was yesterday. The appearance of the next-gen console split opinions instantly into those who were happy Sony was experimenting with a bigger design while others were hoping for a sleeker build which wasn't such an attention grabber. Now the PlayStation 5 is out and in many of our homes, we've learned to live with the giant internet router in peace... except DIY Perks, who has decided to completely change his PS5's appearance.
The PlayStation 5 is so space-age in its design that it's not going to fit everyone's personal aesthetics. And to fit it into his home, DIY Perks decided to do a full reimagining of the way the PS5 looks, making a case for the console out of walnut and carbon fibre. And you know what? We would never guess that this is a PlayStation 5.
Sony is slowly releasing alternative versions of the PlayStation 5's hardware in new colours. Introducing Comic Red and Midnight Black...
DIY Perks first disassembles the console, which shows how surprisingly small the internal components are aside from the heatsink and the power supply. The tech YouTuber notes it's not dissimilar in size to a laptop, and that it's really the cooling system that bulks out the shape of the PS5. After disassembly comes mounting the console to carbon fibre which will cover the top and bottom of the unit. Then, for the outside of the box, DIY Perks uses a beautiful American dark walnut wood which is cut to shape. Once sanded and waxed, it looks like a really high-end piece of furniture you'd see in a hotel and think, "Oh, I shouldn't touch that."
One of the difficulties with the build was making sure that the PS5 got the required airflow. One of the main focuses of the original case is making sure that the heatsink and fan have ample access to air, and when building a new case for the PS5, that should be a priority. Foam was used internally by DIY Perks to make sure that air circulation was encouraged.
Other modifications included using the PS5's LED lights on the bottom of the unit to reflect off of the surface you place the unit on, and a new, disguised power button. With all that complete, the PS5 is unrecognisable and very elegant. It might not be to everyone's tastes, but it's certainly a piece that would fit into some homes more effortlessly than the PS5 in its original state.
As soon as the superconductor shortage eases and PlayStation 5s are more readily available, I can imagine more companies offering custom consoles, and more DIY buffs trying their hand at a similar mod themselves.
Featured Image Credit: DIY Perks
Topics: PlayStation 5, News
PlayStation 5 Resellers Lose Consoles In Gunpoint Robbery
PlayStation 5 Is The Fastest-Selling Console In US History
This PS1-Themed PlayStation 5 Is A Thing Of Beauty
Water Cooled PlayStation 5 Is A Thing Of Absolute Beauty


Vooglers presents you the fashionable glasses. Through her new image, the beautiful Aida Artíles.
All our Polarized Sunglasses include a Packing 100% recyclable and respectable with the environment. Vooglers is a company that respects and contributes to the environment.


text:
/*
	Extern implementation of Nit module kernel
*/
#ifndef KERNEL_NITG_NITNI_H
#define KERNEL_NITG_NITNI_H

#include "kernel._ffi.h"
#endif


text:
Vandy girls place fourth overall at 4A state meet
By Chris SingletonStaff Writer
May 5, 2019 at 12:34 AM May 5, 2019 at 12:34 AM
BATON ROUGE — Vandebilt Catholic's girls track and field team fell short of its season-long goal to win the first team state outdoor track and field trophy at the AllState Sugar Bowl/LHSAA Class 4A state meet on Saturday.
But it was still a banner day for the Lady Terriers.
Eighth-grader Brynn Kelso placed first overall in the 1,600-meter run at 5 minutes, 15.98 seconds, and the 4x800-meter relay team of Kelso, Amelia Viator, Caroline Lindsay and Ella Chesnut brought home a state championship finish at 10:00.33 at LSU's Bernie Moore Track and Field Complex.
Vandebilt had several other athletes reach the Top 3 winner's podium at the state meet, but in the team standings, it could only finish at fourth overall with 55 points.
Edna Karr won the Class 4A team title at 68 points, holding off runner-up Booker T. Washington of Shreveport at 66 points. St. Thomas More finished third at 63 points.
Vandebilt girls track coach Matt "Tank" Falgout Saturday's meet was a challenge, especially since inclement weather moving through the Baton Rouge area on Saturday forced LHSAA officials to put all field events with the exception of javelin and discus events inside the Carl Maddox Fieldhouse on LSU's campus. All of the track events took place in Bernie Moore Track and Field Complex.
The LHSAA also combined each event with competitors from all three classes on Saturday.
As much as they wanted to win a team state championship, Falgout said it was still a great outing on Saturday.
"I was impressed by everybody. It was the same times we ran during the course of the year. Nothing shocked us," Falgout said. "It was a really good season. We were undefeated up to regionals this year. To come out in the Top 4 of this class is really great. There's nothing to be disappointed about. I can't wait for next year."
Kelso was one of the key leaders on Saturday. She also placed third in the 800-meter run at 2:26.87.
"It's just amazing to finish strong like this and end the season like this," Kelso said. "I'm going to push a little harder next year and try to top this."
Vandebilt also won the 4x800-meter relay in the first year of the event.
"It was amazing," Viator said. "We've been working hard all season. It was a really special feeling being on top of that podium."
The Lady Terriers got second-place finishes from Emery Prentice in the pole vault (10 feet, 11.75 inches) and Chesnut in the 3200-meter run (11:53.01).
Prentice faced a challenge but hurting her quad muscle while running for Vandebilt's 4x100-meter relay team that placed seventh at state.
During the season, Prentice usually competed in the pole vault first before running the 4x100, but the LHSAA's schedule change from the weather forced her to switch up the routine by doing the relay event before pole vault.
Despite the injury, Prentice managed to clear 10-11.75, but couldn't top first-place Heather Abadie of St. Michael (12-feet).
"(Saturday) didn't go as planned, but I thought since I made it this far, that I might as well just put it all out there," Prentice said. "I did everything I wanted too and I'm real happy with the results even if they weren't what I planned. I'm really happy. I couldn't ask for more."
Chesnut also didn't have any complaints with her finish in the two-mile.
"It feels pretty good knowing all my hard work paid off," Chesnut said. "I'm really happy with how I did."
Other key finishers for Vandebilt's girls team on Saturday were Lindsay in the 1600-meter run (third, 5:24.18), Rebecca Lawrence in the high jump (seventh, 5-0) and triple jump (sixth, 32-05.25), Amy Parrott in the triple jump (fourth, 35-06.75) and Katherine Cazayoux in the 3200-meter run (fifth, 12:31.67).
Vandebilt's 4x200-meter relay was ninth at 1:47.46 (Kenedi Labat, Katie Haydel, Madison Richoux, Grace Fondren) and the 4x400-meter relay was ninth at 4:16.52 (Viator, Ally Parrott, Lindsay, Richoux at 4:16.94).
Despite the fourth place finish, Prentice said it was a special season for the Lady Terriers and they are looking forward to next season.
"This year was so fun to be with my team," Prentice said. "I think (Saturday) we're kind of bummed out by how we did, but overall I think we did very good. Everybody definitely put in their hardest work throughout the season. I'm happy with everybody's results."
Here are the final results from Terrebonne Parish schools on Saturday. For the complete wrap up on teams from Lafourche, Assumption and St. James, check out Monday's edition of The Courier and Daily Comet.
H.L. BOURGEOIS
The Lady Braves got a fifth-place finish Jaycee Fanguy in the javelin (105-01).
For the Tigers, Ja'Ques Austin was sixth in the 400-meter dash (50.21), and Daunte Parish placed seventh in the javelin (151-08).
Terrebonne's boys finished sixth overall in the 4x100-meter relay (Anthony Ruffin, D'Jon Scott, Trinity Steward and Ja'Khi Douglas with a time of 42.92) and eighth overall 4x200-meter relay (Austin, Ruffin, Scott, Steward with a time of 1:29.72).
Corieon Austin finished sixth in the 200-meter dash (25.78).
The Lady Tigers placed sixth in the 4x100-meter relay at 49.79 (Areal Celestine, Corieon Austin, Zahailey Burton and Taylor Walls at 49.48) and ninth in the 4x200-meter relay at 1:47.27 (Walls, Burton, Celestine and Austin).
Walls also won the long jump and placed third in the triple jump.
ELLENDER
Jared Whitrack led the Patriots with a seventh-place finish in the discus (128-03).
SOUTH TERREBONNE
Lexi LeBouef led the Lady Gators with a ninth-place finish in the shot put (29-03.75).
VANDEBILT CATHOLIC
Hayes Thompson led the Terriers with a third-place mark in the pole vault at 14-0.
Kenneth Franklin placed fourth overall in the long jump (20-08.50) and ninth in the triple jump (39-10.50).


In today's world, it can be very easy to focus on the things we don't have rather than pay thanks to the things that we do have. Indeed, that's when keeping a gratitude journal comes in to play. Not only does it take the focus off our unnecessary wants, it gives us a reason to reflect on all of the good things in our lives. And you shouldn't limit the project to just yourself. Instead, involve the whole family and let the gratitude journal your children keep become a way to show them what is truly important in their lives.
Keeping a gratitude journal makes it easier to focus on priorities. It shows us how our past wants were achieved or dismissed and it gives us an idea of what areas of our lives are good and which areas need improvement. For example, we may have created a good career, but haven't kept the friends from our past as close as we would have liked to. The gratitude journal can help us find a way to reconnect with our old gang and find ways to let them know how much that part of your life meant to you.
Keep your gratitude journal separate from your other journaling apps. Having a special app to record your happiest thoughts in is ideal. This will allow you to keep these ideas separate from the other entries you want to record.
Choose a time of day to write and clear your schedule so you can journal without distractions. Stick to a schedule. This will help you develop a routine and make you see the positive things in your life more clearly. Setting a time at the end of the day will help you feel more peaceful and relaxed when you consider the goals you have achieved and make peace with the ones that have eluded your grasp. At the start of the day, if this is the time you choose to journal, going through your memories of what you are grateful for will help to focus your day and make positive strides toward your goals.
Write whatever comes to mind. If it makes you happy, record it. Don't worry about how silly it would sound to another person. You're the only one that's going to be reading it. And, you are writing it for you! Don't censor yourself, by recording all that makes you happy you will begin to gain your ultimate goal for keeping this type of journal, a sense of peace and accomplishment.
There are plenty of things to be grateful for. Why not record a few of the things that make you happy now. Keeping a gratitude journal will help you find ways to put things in perspective. When something negative happens in your life, you will have the journal to reset your focus.
No matter how bad things may be, you can flip through the pages of your journal or scroll through your app and be reminded of all the good you have in your life. It will help you travel quickly through your problems and help you remember the way back to what has made you happy and grateful for, in the past.
A gratitude journal is a good addition to any current journal you are keeping. It can also be a good way to begin journaling. Start where you're at. Grow as you go.
NextWhat Happens When You Miss A Month of Journaling?


Congratulations on finding this article if you used Google. A civil rights lawsuit filed this week revealed its search engine blacklists authors and ideas distasteful to the company.
Google engineer James Damore's class action complaint describes a creepy cult-like orthodoxy at Google, where dissent is smashed, and the color of your skin is far more important than the content of your character. Reading the complaint is a deep dive into wicked, racial groupthink, and a frightening reminder that it really can happen here. At Google, it does.


Six more weeks of winter? It's fluctuated between 45 and 70 all winter so far, I can handle that. Bring it on...and bring on the Friday Pix!
Looks like the tuna thief was finally caught.
You want to make sure that when people see a picture of you, they get a good sense of who you are.
Cat watching you shower: awkward. Cat watching you shower with your motorcycle: just flippin' weird.
"All you froggies in the house, raise the roof!"
Just as long as you aren't losing to the cat.
The first drop is a lulu.
This kid's Big Wheel is cooler than anything any of us ever had.
No matter what your Super Bowl party spread might be, it's not as impressive as this one.
Not much room, but still manages to have a balcony!
I still want one of these little pigs as a pet.
That oughtta keep him out of trouble for a while.
Not sure what he's upset about, but he expressed it nicely.
Grow your own at home!
If you need me, I'll be somewhere in here.
Have a great and safe weekend, everyone!
that's how I like to take baths, actually. Me, in the tub, laptop on the side with movies, and a notebook for writing or drawing in. But I like to be in the tub for 2-4 hours at a stretch.
I really miss my bathtub.
He does seem to be rockin' the canine corpsepaint, doesn't he?
nice one, Dude. I especially liked he army guy with the dog.
I think I would have performance anxiety in that library.
Also, if you got a teacup pig, it could live in the tiny house!
In other news, Officer Murphy of the 3rd precinct was placed on indefinite unpaid leave today when, as he was making a comical "LOL-Cat" image, his gun discharged, killing a kitten and making a large hole in his left hand. An investigation is pending into whether he will be charged with animal cruelty and reckless endangerment.
A reminder from the National Gun Safety Board: Always assume the gun is loaded and ready to fire, never point a gun at anything you don't intend to shoot, and always, always, be aware of what's BEHIND your target!
Glad I'm not the only one whose mind went there, though really my primary thought was, "TRIGGER CONTROL! Why is your finger on the trigger?!"
That was what prompted me to think of the thing discharging.
The story I made up in my head is that the guy was responding to a call about an intruder in the house; footsteps, things moved around, that sort of thing. But yeah, finger on trigger is a no-no.
Something for everyone, as usual. You rock. Thanks.


text:
Law and Forensics Publication Company, Lexeprint, Announces its First Partnership
Lexeprint partners with Direct Connections to Africa to fund education and villages in Malawi
By Sofia Kriz
On February 1st, 2021, Lexeprint Inc., a publishing company that offers educational services at the intersection of business, law, and technology, announced its partnership with Direct Connections to Africa. Lexeprint offers five classes which, if purchased between February 1 and June 30, 2021, will benefit DCTA.
Direct Connections to Africa is a nonprofit organization that provides villages in Malawi, Africa with the materials they need to thrive in the world and overcome the abject poverty that people are struggling with every day. Among these materials are educational tools and medical aid to those in need. By partnering with DCTA, Lexeprint offers those who purchase a class not only educational benefits but the moral benefits of supporting communities that are subject to abject poverty.
Lexeprint's partnership with Direct Connections to Africa is the first in a string of partnerships to come, with the hope of raising awareness and funding for systemically marginalized communities. Lexeprint plans to continue donating proceeds from its courses and other resources to nonprofit organizations, in efforts to create better conditions for communities both in the United States and on a global scale.
About Lexeprint Inc.: Lexeprint offers a constantly expanding library of industry-defining expertise in the form of podcasts, webinars, articles, journals, and more. This information is provided by respected and accomplished industry leaders, all of whom stand at the cutting edge of law practice and policy regarding cybersecurity, eDiscovery, and forensics. Lexeprint's values are geared towards driving the development of diversity in the cybersecurity, technology, and legal industries.


This book is about the process of creating web-based systems (i.e., websites, content, etc.) that consider each of the parts, the modules, the organisms – binary or otherwise – that make up a balanced, sustainable web ecosystem. In the current media-rich environment, a website is more than a collection of relative html documents of text and images on a static desktop computer monitor. There is now an unlimited combination of screens, devices, platforms, browsers, locations, versions, users, and exabytes of data with which to interact. Written in a highly approachable, practical style, this book is useful for stakeholders, system administrators, developers, designers, content managers, and the anonymous web user in industry, as well as faculty, staff, and students of all levels involved in teaching and learning in information technology.


It's a tough neighborhood for coalition forces in southern Afghanistan. The historical home of the Taliban and its putative leader, Mullah Mohammed Omar, American and NATO troops have been increasingly bruised by fighters from the resurgent movement who attack, run and lay ambushes nearly at will.
The last substantial group of American troops who patrolled the area at the juncture of Farah and Helmand provinces was battered and bruised by militant attacks, hitting when they could, but absorbing casualties at a rate their small numbers could not adequately prevent.
Now, as part of an upcoming surge of as many as 10,000 U.S. troops into Afghanistan, the new U.S. commander in the area says lessons learned from his predecessor's experience is putting him in a better position to knock the enemy down -- and keep him out.
"We're kind of the leading edge of the U.S. plus-up of forces in this area," said Col. Duffy White, commander of the Marine task force that recently deployed to southern Afghanistan. "I'd love to win hearts and minds, but I would really prefer at this point to win trust and confidence of the people; that we're here to help them, we're here to stay and we're here to help the Afghans find a solution to an Afghan issue."
For months, Marines from the 2nd Battalion, 7th Marines labored to hold a huge operational area the stretched across three provinces. Dependant on their NATO allies for logistics, air and other functions, 2/7's commander, Lt. Col. Rick Hall, pleaded for more equipment and support - the kind of things Marines are used to having when they deploy as an expeditionary unit or a MAGTF.
Now, with White and his infantry battalion from the Camp Lejeune, N.C.-based 3rd Battalion, 8th Marines and his logistics arm from the Hawaii-based 3rd Marines, coupled with Cobras from Marine Light Attack Helicopter Squadron 269 and CH-53E Super Stallions from Marine Heavy Helicopter Squadron 466, there's a lot more he can do to not only clear the enemy out, but also to hold onto coalition gains.
"We are picking up from the success [2/7] had and now it goes a little bit beyond that because now we have a little bit more capability," White said during an exclusive interview with Military.com Dec. 15.


Yesterday, Natural England (NE) published some information about their hen harrier satellite tagging programme, which has been running since 2007. Their press release, entitled: "Initial findings of Natural England's hen harrier tracking programme 2007 to 2014" can be read here.
The key word here is "initial". What they've released is extremely limited and to be frank, doesn't tell us much that we don't already know.
It's a difficult situation for them, because part of the funding for this project has come from us (tax payers) and so NE has an obligation to inform us how our money has been spent and the results of the research that we've helped fund. However, this research has been undertaken as part of a PhD study and so the doctoral candidate (Stephen Murphy) is entitled to retain his data until he's ready to submit his thesis and, ideally, has produced some peer-reviewed papers. No researcher worth his/her salt would wish to release their data, prematurely, in to the public domain, in case someone nicks the data and takes intellectual credit for the work.
The problem in this case is exacerbated by the controversial topic (and thus the high level of public interest and clamour for information), the poor survival rate of the study species (which is bound to have impacted on the research design seeing as the research is specifically aimed at examining hen harrier dispersal ecology; quite hard to assess if your harriers are killed just a few months after fledging), and also the length of time it has taken for this PhD study to be completed. We understand Mr Murphy's studies began in 2006 – that's eight years ago. That's a very long time. We do have some sympathy with Mr Murphy, for the first two reasons outline above – but, we do know that he has given numerous public presentations on his research over the years and so we should have seen at least SOME of his findings published by NE well before now.
So, what information did NE release yesterday? Or more to the point, what information didn't they release?
We now know that NE has attached sat tags to 47 young hen harriers between 2007-2014. There are at least a further six tags that have been fitted and monitored by other organisations. Of NE's 47 harriers, only four are known to be still alive. That's a pathetic 8.7%.
Of the 47 harriers, six have been found dead.
Of the 47 harriers, a staggering 37 (78.7%) are listed as 'missing'.
Of the 37 'missing' harriers, 34 were under a year old when their sat tag stopped functioning. Two were between 1-2 years old, and only one was more than two years of age. The vast majority went 'missing' in the months of September and October, with a smaller peak in July and August.
NE has provided some technical information about the sat tags, stating that they are programmed to emit signals on a ten hour cycle with a subsequent 48-hour re-charging cycle. They point out that just because a harrier's last signal came from a particular location, the harrier could have subsequently moved a considerable distance (within that 48-hour period).
Viewing the case of each 'missing' harrier in isolation, that's quite a plausible possibility. However, when you combine ALL the cases of ALL the missing harriers, it's not quite so plausible. NE states that tag failure is "uncommon". Incidentally, so did the Dutch researchers who were commenting on the 'missing' sat tagged Montagu's harrier earlier this year, whose last signal came from the Queen's Sandringham Estate in Norfolk (see here). Sure, you might expect the odd one to fail, but when you've got a 78.7% failure rate, and you're told that tag failure is "uncommon", it's very hard to conclude anything other than foul play.
When you also add in the known fact that breeding hen harriers are missing from almost every driven grouse moor in England and Scotland, it becomes blindingly obvious what's going on.
Unfortunately, the newly-released data provided by NE don't include detail of where these hen harriers have gone 'missing'. They've given 100km2 grid references, which are utterly meaningless. They say they don't want to release any finer detail because there is concern from the raptor study groups that sensitive locations will be publicised. That's a little ironic (clearly the harrier killers know where to find these birds) but it's also understandable. However, NE could have easily provided a column showing the habitat type of where these birds went 'missing' without compromising site security. Those data would have been very interesting and, we think, pretty damning. Perhaps that's why they were excluded?
As NE quite rightly points out, the circumstances that led to the loss of these harriers' tag signals can only be ascertained if the bird's corpse is recovered. That's also a statement that has repeatedly been put out by the game-shooting lobby – "No dead bird, no evidence of persecution". Now, we expect some natural mortality – not all the sat-tagged harriers are going to survive, that's basic biology. But wouldn't you think, if all these sat-tagged harriers had died a natural death, their corpses (or at least part of a corpse) would be found, as would the tags?
Of those 37 'missing' harriers, only one tag has been recovered. Amazing, eh?
So what have we learned? Not much. 78.7% of sat tagged hen harriers are 'missing'. 'Somewhere'.
Here's a reminder of what happens to some hen harriers on some driven grouse moors. Please sign the petition to ban driven grouse shooting here.
This would be statistically testable, if data from the same type of tag deployed on a similar species somewhere else were made available. The rate of failure could be compared, and this would show whether tags varied in failure rates between this study and others. The manufacturers would presumably have an interest in facilitating this. This would go a long way to excluding use of the 'technical problems' hypothesis to explain away the striking, and in my experience of similar tags unprecedented, pattern of frequent sudden and complete cessation of signals well within the design life of the tag.
"Natural England is working on a range of fronts" – note militarty usage. It is a war then. And there is an enemy.
Surely they would or should have had at least a couple of control tags, just set somewhere, even set in the researchers van or their shed roof.
Radio telemetry tags used by falconers have pretty good reliability. One manufacturer even has the confidence to give a lifetime guarantee. They wouldn't last long with a near 80% failure rate.
At the end of the day a gps tag is radio beamed to a satellite rather than a hand held device.
Perhaps we could request a break down of the data from http://www.woodcockwatch.com/sponsor-a-bird.php it would appear that Rebecca is the longest running, tagged Feb 2012. Interestingly this is a game species and perhaps there are some parallels about what both species face.
I would like to know how well the sat tag data is encrypted? If it is not, then the criminals can easily receive up to date location data, with the usual consequences?
Might as well shout, "I'm here, kill me".
I was talking to a friend about hen harrier and other birds of prey persecution and how satellite gps was giving last known position data.
He commented on how is the data transmitted? Is it encrypted? If not what is stopping the criminals collecting the data to continue their crimes?
He suggested the encryption of gps data to protect the location data ensuring it is only available to the RSPB and other legitimate users.
Does this happen and if not why not?


Simon Dietz is one of the founders and is a current Co-Director of the Grantham Research Institute on Climate Change and the Environment at the London School of Economics and Political Science (LSE), where is he also Director of the ESRC Centre for Climate Change Economics and Policy, and Associate Professor in the Department of Geography and Environment. Simon is an environmental economist with diverse interests, from climate change to biodiversity and from decision theory to growth theory. As an undergraduate he studied Environmental Science at UEA Norwich and ETH Zürich, before completing an MSc and PhD at LSE in environmental policy and economics. In 2006-7 he was an analyst at the UK Treasury on the Stern Review on the Economics of Climate Change, and played a leading role in the Review's modelling of the 'cost of inaction'. He sits on the editorial boards of the Journal of the Association of Environmental and Resource Economists and the Journal of Environmental Economics and Management and is a Principal for the consultancy Vivid Economics.


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Instant classic. Attractive and classic by design, the Sloane will sit beautifully in your home. Its elegant and understated features include soft seat cushions for luxurious comfort, and turned timber feet for added sophistication.