text:
Q: Java: Change code by String I have the this line of code:
String msg = "What's the capital in " + nyttLista.get(slumpLand).land + "?";

I want to switch between .land and .stad. Can I do this without having to do a duplicate this line of code?
I tried creating a String that switch between "land" and "stad":
String i = "land";
nyttLista.get(slumpLand).i;

Can I do something similar?

A: You have a few options, each with their own advantages and drawbacks.
The simplest, and almost certainly right for your use case is a simple "if" statement.
SomeObject obj = nyttLista.get(slumpLand);
String value;
if(<some condition>) {
   value = obj.land;
} else {
   value = obj.stad;
}
String msg = "What's the capital in " + value + "?";

If is straight forward, readable but a little verbose and if you add lots of different conditions it will explode.
You can make it shorter using the ternary operator:
SomeObject obj = nyttLista.get(slumpLand);
String msg = "What's the capital in " + (<some condition> ? obj.land : obj.stad) + "?";

but at the cost of readability and extendibility (the latter may not be important for you).
You can use reflection:
String fieldToUse = <some logic to return "land" or "stad".
Field field = SomeObj.class.getField(fieldToUse);
SomeObject obj = nyttLista.get(slumpLand);
"What's the capital in " + field.get(obj).toString() + "?";

I'd not do this in this use case, but it can be useful when you have TEH DYNAMICS (this is so bloody rare that you can ignore this option).
If using Java 8 you could use Functions and other fun stuff (or a Strategy pattern). But really only for the lolz.
Function<SomeObject, String> using;
if(<some condition>) {
   using = (a) => a.land;
} else {
   using = (a) => a.stad;
}

"What's the capital in " + using.apply(nyttLista.get(slumpLand)) + "?";

It is useful when you have a lot of different options or you want to pass in part of the algorithm.
You could use a rules engine, but we were getting silly at reflection. Great when you have tons of rules, but pointless in the problem above.
You could push the logic up. So SomeObject has a getThingie method that knows when to return land or stad. Internally it would be implemented using one of the above, but the caller does not need to care. I don't know the logic required to decide on land or stad, but this is likely the one I'd recommend, implemented internally using a if statement.

A: No it is not possible the way you are trying to achive it.
But you could write it like this. Basicly, instead of accessing the variable directly, it is just using method with a variable as a paramter. Based on this paramter, which can be passed with a constant flag it would determine what it would have to return.
public class Test {

    private String a = "A";
    private String b = "B";

    public static final int LAND = 0;
    public static final int STAD = 1;

    public static void main(String[] args) {
        Test test = new Test();
        int option = Test.LAND;
        System.out.println(test.getValue(option));
        option = Test.STAD;
        System.out.println(test.getValue(option));
    }

    public String getValue(int option) {
        if(option == LAND) {
            return a;
        } else if (option == STAD) {
            return b;
        }
        return null;
    }
}

A: You can achieve this task using reflection.
Store variable name in one variable like in my case it's 'variabeName' and depending upon the value of that variable you will get the value of corresponding fieeld.
String variableName="land";
Field[] fields = nyttLista.get(slumpLand).getClass().getFields();
String name = fields[0].getName();
Object value = fields[0].get(obj);

String msg = "What's the capital in " + value.toString() + "?";

A: You could do something like:
String msg = "What's the capital in " +
    (i.equals("land") ?
        nyttLista.get(slumpLand).land :
        nyttLista.get(slumpLand).stad)
    + "?";


text:
In The End of Autocracy (L&TUR No.16), Gwydion M. Williams argued that the set-backs suffered by Marxist parties East and West had the same root cause – a feeling among far too many socialists that working people cannot be trusted to build socialism, and need to have it imposed on them. Here he links this with the attitude of modernist artists – especially architects – who also like imposing their 'progressive' ideas on an unwilling majority. Except that this is unlikely to fool the cultured anarchy that has now developed.
In Peter Brooke's A Carolingian Renaissance (L&TUR No.10), I was glad to see him expose the phoniness of modem architecture. And then very sorry indeed to see him let them off the hook by saying that it was all an inevitable part of modem life. Reconsidering the matter in the light of his later articles, I now see that this was no accident. His views on architects and on Leninism are part and parcel of a single viewpoint. In one form or another it is a very widespread viewpoint, and has done great and continuing damage to the cause of socialism.
Modernist architecture is a massive outbreak of silliness and bad taste among people who should know better. The question of the social forces that fostered such silliness and bad taste is a separate question. The search for the reason should not be allowed to weaken the central point that it is silliness and bad taste. Edmund Burke in his essay on the Sublime and the Beautiful insisted that a judgment of what is and is not good taste is separate from an explanation of why it is good or bad taste. It would be nice to have an explanation, but people who try to find one usually get out of their depths and start talking nonsense.
(Burke even ventured into the domain of physics, and criticised Newton for having tried to explain what gravity was, rather than simply using it as an explanation for the observed movements of the planets. And on this point Burke was quite right. Newton's description of how gravity operates works perfectly in most cases, though on occasions we need Einstein's more complete description. But we still do not know why gravity exists, nor why it isn't stronger or weaker than it actually is. Physicists think that they are close to a unified theory that would link gravity to the other basic forces of the universe, but they have not got there yet.)
To return to the matter of architecture. I doubt if today's magnates and planners are worse men than those of the Renaissance. The princes of that era commissioned work from Leonardo, Michelangelo etc. because those were the fashionable names at the time. Nor was there any great difference between personal and corporate – a lot of the work was for church hierarchies, city corporations etc. It just so happened that the fashions of that time were promoting good work, and now they are promoting unpleasant and pretentious rubbish.
Even if the moral climate was worse, it would not excuse anyone from taking a stand for what they know to be right. After all, 'moral climates' are only a shorthand expression for the sum of individual decisions. Each good or bad decision changes it by a small but definite amount. Those architects who have gone along with a corrupt consensus are morally guilty. Like most morally guilty people they have a variety of ingenious excuses. These are rubbish, and should be dismissed as such.
The typical tower block is based on the crudest possible geometry, given that land is expensive and buildings must of necessity be three-dimensional. Cubes and cuboids are the simplest of all shapes to work with. – Making a very tall cuboid requires certain engineering skills; but once you've seen a few dozen such buildings, their basic lack of visual interest becomes obvious.
A few buildings have risen above it. One I would cite would be Centre Point, which dares to deviate from being strictly cuboid, and somehow manages to find beauty in what is normally a banal form. True, the underground passages at its base are perfectly disgusting concrete ratholes. True, the circumstances of its building and letting were questionable. (But what about Versailles, or the poor Indian peasants who were squeezed to build the Taj Mahal?) I think that future generations will regard Centre Point as a very worthy addition to the great buildings of the world. It is however very much an exception.
[The 'perfectly disgusting concrete ratholes' have now been replaced by an expanded underground station that links to the new Crossrail system.]
It is not as if the 'modernist' architects did not know better. When you look at the homes they live in, and the offices where they work, it is obvious that some of them have considerable skill and good taste. But an odd sort of pseudo-intellectual snobbery impelled them to design disgusting cuboids when they worked in a professional capacity. They didn't like them, and nor did anyone else. But they had been taught that this was modem, right and proper. And they lacked the gumption to do anything else.
Theory tends to be invoked. Rather, people will find some complex metaphysical justification for doing whatever may be fashionable. Any damned fool idea can be justified by one theory or another. The basic test should be – if the products of an artistic theory feel wrong, even when they have ceased to be new and unfamiliar, then the theory is wrong.
Poets and painters might be justified in following some esoteric interest that only a few other artists are likely to follow or be interested in. People are free to choose what poems they read or listen to, what pictures they look at or have on their walls. If they have been wasting their time, it is only their own time that they have been wasting. But architecture is an inherently public art. Buildings are inflicted on the people who live in and around them. To justify a style that is universally despised, despite being older than most of the people now alive, takes a special sort of arrogance.
Pseudo-intellectual snobbery outweighs even the more ordinary sort of snobbery associated with royalty. Mr Charles Windsor was saying nothing that had not been said many times before, often much more clearly and by people with a much deeper knowledge of the subject But the fact that he said it did help the ideas to circulate. And the fact that architects have mostly opposed him shows what a completely crazy state of mind they have got into.
Incidentally, I was surprised that Peter Brooke attached so much weight to Mr Charles Windsor's opinions. The Windsors are a dull, decent, well-meaning, upper-class family. They are not interesting, and they are not meant to be. It is fair enough to argue – as Brendan Clifford did in L&TUR No.4 – that "the soporific of royalty has benefited progressive movements over a long period by neutralising the elements who might have given force to reaction". But to talk of a 'Carolingian Renaissance', as if the monarchy was or should be a major positive force, is to lose all sense of proportion.
In the same article, Peter Brooke raised the matter of both artists and Anglican clergymen wishing to be 'relevant'. But he either missed or sympathises with the actual set of ideas that lie behind the nice word 'relevant'. Both artists and Anglican clergymen would like the sort of power that Catholic priests used to exert in strongly Catholic societies, and still do exert in a more limited form. This is 'relevance' in the sense that priests (or artists) do as they think fit, and also have a large influence on the habits and beliefs of the rest of the society. In just the same sense, Leninist Commissars and party bosses used to be relevant, and have now lost a great deal of this relevance.
Anglican clergymen are not 'relevant', because their church was created for no other purpose than to be a church under the control of civil society. Leninist Commissars lost relevance when it became clear they were not in fact likely to build a socialist utopia in the countries that they controlled. (The 'news' of the methods that had been used in Stalin's time did not disconcert believers very much, for so long as the final goal still seemed possible.)
Artists are not 'relevant', because there is no reason to look to them for general social guidance . rather than to astronomers, mining engineers or any other group with special skills. Most people see artists as fellow human beings who happen to have a talent for one or other mode of expression.
Artists in the 19th century .noted the decline of religion, and some of them felt that the situation was wide open for them to fill the gap. They were quite mistaken. The bulk of society was no longer willing to be governed by any of the world's religions. The old faiths were rejected, despite their venerable traditions, their subtle theology, their impressive religious and devotional art, their martyrs who had been willing to die for the faith, their large numbers of good and dedicated men. Societies that were rejecting religions that could offer so much felt not the least need to be bossed about by a bunch of confused bohemian posers.
Despite some interesting and radical notions, Peter Brooke cannot fully get away from the split between refined superior art and common mundane work. He rejects it in its conventional arty form, and then he reaffirms it in a rather more complex and roundabout form.
The common distinction between artist and artisan did not really emerge until the eighteenth century, and was only fully sorted out in the nineteenth. Raymond Williams's Culture and Society and Keyword traces how the meaning of 'art' and 'artist' changed as society developed. Peter Brooke has either not read these books, or read them without understanding anything, since they deal with many of the areas he's been talking about
Artists, in the new sense, were invited to identify with the ruling groups. They were 'superior persons', even though most of them never became rich. Artisans, skilled workers, were relegated to the ranks of the growing mass of wage labourers. 'Artists' in the 19th century were put in a false position, and developed an ideology that increased the falseness. Artists were seen as people with superior feelings, superior souls. It was heresy to see them as fairly ordinary people who just happened to have a particular skill for expressing some of their fairly ordinary feelings in verse or story or paint or music. Radical artists were 'against the bourgeoisie'. But, with a few honourable exceptions, they did not by any means wish to be confused with vulgar artisans or workers.
Having cut themselves off from ordinary life, artists concentrated on expressing their nature as artists. But this was a pointless activity as pointless as if a group of lorry-drivers had dropped the notion that lorries should actually transport goods, and simply concentrated on lorry-driving as an autonomous activity.
The main point about William Morris's News from Nowhere is not that art galleries are missing. It is that there is no distinction between art and ordinary work. Peter Brooke fails to understand this. He goes part-way towards desiring a breaking down of the division between work and art; and then draws back and reasserts it in a more subtle and convoluted form.
In Absolute Beginners (L&TUR No.12), Peter Brooke says that "The worker, as Ruskin and Morris had prophesied; became more and more an adjunct to the machine; his work became less and less valuable." This is just not true. There was a loss of skills in the first part of the industrial revolution – at least a loss of those skills like handloom weaving that could not match the work of a machine. But other skills in areas such as metalworking and precision engineering arose at the same time. Modern work requires an increasingly skilled and well educated workforce. Simple repetitive tasks can now be very easily done by microprocessors. But this has not led to a mass replacement of workers by robots – there is in fact a shortage of competent skilled workers. Modern technology has removed some of the worst and most soul-destroying sorts of work, and highlighted the need for humans doing various tasks – some clerical, some manual labour – that only humans can do well.
Any comparison between modem culture and the culture of the past must be made on an even basis. If the everyday objects of modem life are compared with the best survivals of all previous eras, then our age might look quite bad. But that is the wrong method. A better one might be to take an exercise book, and assign a single page to each century. On each page, write down what that century has produced, that could be judged to be of outstanding artistic or literary merit. No two people would come up with quite the same list, of course. But when anyone then made the comparisons between the pages, I am confident that they would find that the 20th century has produced a remarkably large amount of good stuff! It is only when the past is all lumped together, everything from Homer to Wagner, that we seem to have gone downhill.
Marxist socialists in the West let themselves be tempted by the apparent short cut of a dedicated Leninist party seizing power and rebuilding society from scratch. Marxists in the West had no excuse for not knowing that this was being done against the will of the majority of the population. Marxists in the West weren't happy with it, but generally felt that progress was more important than the will of the majority. And since we have no way of knowing how the world would have shaped up without the development of a strong and successful USSR between the 1920s and the 1950s, it is hard to say if they were right or wrong. This is not the main point I am talking about in this article.
The Bolsheviks in Russia were a radical minority who were imposing their ideas on the rest of the society. That is to say, they were actually doing what the Modernist artists wished to do but could not. It is thus not surprising that writers and artists whose ideas were not in any serious sense socialist identified themselves with Bolshevism. It was not a simple relationship. The USSR was in fact to drop Modernism in favour of Socialist Realism – which was actually a form of idealised Socialist Surrealism, life as the Communist Party would have liked it to be. But the link remained, and is still not completely lost.
It was not only Bolsheviks who attracted a crowd of Modernist 'groupies'. Both Italian Fascism and the German Nazis got their share. Ezra Pound is the best known example, but Dali was happy to identify himself with Fascism, though people have tried to play down this side of him. Then there was T. S. Eliot, who opted for a right-wing Christianity rather than for Fascism. However much people try to deny it, it's clear that there is a definitely anti-semitic feeling in some of his poems – he even wrote Jew as "jew". (And, of course, he was an excellent poet despite the obnoxiousness of some of his beliefs.)
There were other options. Some artists tried to ignore the larger world about them, and some developed personal faiths. Perhaps the best of these, Robert Graves, believed in the 'White Goddess', and argued for Her existence by rearranging English translations of obscure and complex Celtic poems. There are many other examples, most of them much less interesting.
These were minority options. By far the largest number of Modernists identified with the strongest actually existing power – mainstream capitalism. For the most part, the capitalists had little use for them. Modernist paintings made good investments, but this was quite independent of which power-block, if any, the artist had identified with. Advertisers have in recent years made a lot of use of Modernist ideas to sell consumer goods, but this is a matter of form more than content. The one socially relevant group has been Modernist Architects. They provided a fancy artistic justification for cheap and sometimes shoddy or dangerous building methods. But they also – whatever their private beliefs – create and sustain a building style that is as suited for modem capitalism as Gothic was for medieval Catholicism.
Modernist architecture is depersonalising and multinational. Office blocks or flats look exactly the same in London, Los Angeles, Delhi, Hong Kong or Tokyo – it was in fact the first truly worldwide building style. It wiped out both local colour and a sense of community. People can form a community in a row of terraced houses, but putting them in a tower block will usually atomise and fragment them.
But time moves on. In Britain, at least, it was discovered that people put into tower blocks became so atomised and de-socialised that they were a menace to society. Instead of becoming docile wage-slaves, they were either inactive or pointlessly destructive. People needed to be given more of a sense of community, if society was to function at all.
Modernists were providing an outdated product. There was therefore a big shift of opinion away from them.
Modem capitalism can only function by persuading the workers that it looks after them better than socialism could. This means accepting the growth of individualism among the working class, and building styles must change to reflect this. Since architects showed a reluctance to yield their cherished bland cuboids for the greater good of the whole system, the establishment shifted to supporting some of their long-time critics. And it became so much a matter of establishment consensus that Mr Charles Windsor felt it O.K. to get in on the act.
Capitalists have realised that autocratic methods are no longer efficient, while too many socialists have hung onto them. People go on trying to be autocrats, an elite imposing socialism on 'the masses', for the good of 'the masses', long after the working class has shown that it cannot under any circumstances be treated as a passive mass.
Peter Brooke has had some interesting ideas. But he has basically failed to understand what is going on in the world. He proclaimed Islam on the Iranian model to be the wave of the future at about the same time that I concluded that its failure to win the Gulf war bad finished it off as a world force. I think that events have borne out my analysis, and will continue to do so. Islamic extremism doesn't even seem able to win in Afghanistan – mainly because Islamic idealism comes a poor second to tribalism among the Afghans. It has also given a classic lesson in weak and destructive government in the Sudan.
Socialism can be justified on a religious basis, and very often has been. This is part of the Labour and working class tradition, and if Peter Brooke were to take this up it would be a useful contribution. In his early articles he seemed to be following such a path, but more recently he has wandered off it – or perhaps always bad some separate private goal. Certainly, I can see no logical connection between his present ideas and those of this magazine. And if he still sees one, as I suppose he must since he maintains contact with us, I'd be glad if he explained just what it was.
We live in a society that no longer has an 'elite'. It does have an excessively large number of people who consider themselves to belong to a small cultural elite. But the truth is that general culture has developed to a point where very large numbers of people can and do think for themselves. . What we have is a cultured anarchy. I use this term as a deliberate challenge to Matthew Arnold's Culture and Anarchy, and to people nowadays who follow his ideas. (Though it must be remembered that Arnold's own work as an educationalist did contribute in the Jong nm to bringing it into existence.)
Society today needs no 'elite' to guide it. Nor does it help to speak of 'spirituality', which can mean so many different things that it isn't much of a guide. For what it's worth, we do have very large numbers of people developing themselves in one way or another. This self-development may or may not be expressed in religious or mystical language – that's not the main point. What has increased vastly is human potentiality.
The development of the 'cultured anarchy' is confusing for the residual elites. Artists have been getting whimsical for more than a century. Two totalitarian systems – Moscow Leninism and Roman Catholicism – have followed a surprisingly similar pattern over the past few decades. First a questioning of established values Khrushchev and Vatican Il. Then a 'period of stagnation' –
Brezhnev and Pope Paul. Then one or more short-lived successors. Most recently a dynamic new leader with an eye to the media – Gorbachev and John Paul Il. The Catholic Church has the advantage of not being in direct competition with liberal · capitalism, which has had a period of unprecedented success. But there are signs that some form of modified Leninism will survive in Russia, and perhaps also in the Ukraine and some of the other Soviet Republics. The rapid collapse of 1989 was a collapse of what was held by Russian tanks, not a sudden defection of true believers.
What the Leninist Commissars and the Catholic Hierarchy had in common was a desire to shed their more onerous responsibilities while keeping and even increasing their privileges. Representatives of 'high culture' tried that game long ago. They dropped the attempt to produce interesting and coherent works of skill, but still expected to be admired as very special people. Only no one was fooled. It is only people within the self-styled elites who get fooled, or fool themselves, in one way or another.
This article appeared in May 1990, in Issue 17 of Labour and Trade Union Review, now Labour Affairs. Older articles by Gwydion M. Williams mostly appear as Madawc Williams.
Architecture has indeed changed, but less than the article hoped.
You can find more from the era at https://labouraffairsmagazine.com/very-old-issues-images/.

redpajama_set_name: RedPajamaCommonCrawl


text:
Callicore heraclitus is een vlinder uit de onderfamilie Biblidinae van de familie Nymphalidae. De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 1793 door Johann Christian Fabricius.

Biblidinae

redpajama_set_name: RedPajamaWikipedia


Style Inspo: Here's How To Take Double Tap-Worthy IG Photos Like Chie Filomeno!
Chie Filomeno seems like she's mastered the art of taking IG photos! Swipe through and take notes!
For an effortless #OOTD shot, go for a candid one. Plus points for a dramatic wind effect!
When you have jacket on, make sure you're still flaunting every single detail of your outfit!
Got some cool pants on? Take your photo from a lower angle to show them off!
If you're not on the tall side, make sure to point your toes to make your legs look longer.
If you can't find a suitable background, Chie proves that a staircase is all you need!
Don't hesitate to get down and dirty, and by that, we mean sitting on the pavement without a care.
Or you can lie down with an angled shot if you're into it!
Speaking of angles, you can go low to capture the sky if you're blessed with fine weather!
You can also do no wrong with having some greenery in the background.
To get the most double tap-worthy shot, catch the magic hour for perfect lighting!
If all else fails, a classic "throwback" shot will do the trick!
Or you can do a cutesy candid shot, and apply your favorite filter!
If you want to nail every shot you take and elevate your Instagram game, then we've got the perfect peg for you! Influencer-model-actress Chie Filomeno has been noticeably serving up double-tap worthy photos for us lately, and we couldn't help but look through her feed and see what she's been doing right! Whether she's showing her #OOTD off or capturing candid moments, this stunner does it for the 'Gram like nobody's business!
Swipe through for the best IG lessons we learned from Chie!


text:
The UNOFFICIAL
King Crimson & Robert Fripp
Live Recordings Database
ALL ITEM 1 ITEM 2 ITEM 3 ITEM 4 ITEM 5
Event that day
Tony Levin
Setlist source
www.setlist.fm
Siréne
Siréne-150
1: Improvisation
2: Larks' Tongues In Aspic, Part 3
3: Thela Hun Ginjeet
4: Red
5: Frame By Frame
6: Matte Kudasai
7: Industry
8: Dig Me
9: Three Of A Perfect Pair
10: Percussion Introduction
11: Indiscipline
12: Sartori In Tangier
13: Waiting Man
14: Man With An Open Heart
15: Sleepless
16: Larks' Tongues In Aspic, Part 2
17: Discipline
18: Heartbeat
19: Elephant Talk
01/01. Introduction 3:45
01/02. Larks' Tongues In Aspic, Part 3 5:16
01/03. Thela Hun Ginjeet 6:14
01/04. Red 6:15
01/05. Frame By Frame 4:06
01/06. Matte Kudasai 3:41
01/07. Industry 7:54
01/08. Dig Me 3:31
01/09. Three Of A Perfect Pair 4:21
01/10. Percussion Solo>Indiscipline 10:28
01/11. Sartori In Tangier 4:10
02/01. Waiting Man 6:54
02/02. Man With An Open Heart 3:47
02/03. Sleepless 6:25
02/05. Discipline 5:02
02/06. Heartbeat 5:30
02/07. Elephant Talk 6:00
ozzmittel September 18, 2014
A review is an evaluation of a publication, service, or company such as a movie (a movie review), video game (video game review), musical composition (music review of a composition or recording), book (book review); a piece of hardware like a car, home appliance, or computer; or an event or performance, such as a live music concert, play, musical theater show, dance show, or art exhibition. In addition to a critical evaluation, the review's author may assign the work a rating to indicate its relative merit. More loosely, an author may review current events, trends, or items in the news. A compilation of reviews may itself be called a review.
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Google is currently working with Honda and Toyota in Japan, and will battle for American drivers soon, according to analyst firmABI Research.
Ads based on the maps you are viewing and/or your current location will be added to car navigation systems. For example, if you ask for directions, you'll see the fast food restaurant stops along the way, delivered on top of Google Maps via a Google ad network.
Voice-activated browsers could complete the puzzle. Just ask Google for the closest tailor, and presto, a map, along with competing ads.


text:
Leeann Tweeden, Al Franken, The Patriarchy, Change
November 17, 2017 PoliticsAl Franken, Leeann Tweeden, The Patriarchy, UncategorizedGreg Laden
The Al Franken problem is developing in ways too important and interesting to not explore further. So here is a handful of semi-connected but mainly distinct thoughts on the matter.
Let me say at the outset, I'm biased. I like Franken, I think he is one of the best US Senators we've ever had in this country, in its entire history. I am very reluctant to let sophomoric or stupid behavior of many years ago cause us to lose this resource. I also know that his resignation is at least 50% likely, in part for reasons I will explore below, but I choose to remain in denial of this for a while longer, and that's good enough for me.
It is hard to hear Leeann Tweeden's story (in her own voice) and not want Al to resign, even though Leeann Tweeden herself has suggested he not. In fact, it is tempting to invent a truth machine we attach to all members of Congress, and ask about prior sexual harassment or abuse (especially while in Congress), get rid of them all, and replace them with women. We would almost certainly end up with a female-majority congress, and that could change the way this country works in several very positive ways.
(On the third hand, it should be on record so we do not forget, that Leeann Tweeden, while credible and clearly a smart and thoughtful person, is a FOX employee — off and on — and it is not hard to draw a line connecting the Roy Moore election and the present dust up. I am increasingly convinced that this is not relevant here but I feel the need to keep it on the table at least for now.)
Here is the Leeann Tweeden Interview and Al Franken's Facebook apology. I think it is important for people to see both. Watch the entire interview, there is quite a bit of interesting insight here, across several subtopics, all the way to the end. It is long but it is your responsibility to see all of it before you form an opinion. Tweeden is very credible, Franken was a real jerk.
For his part, Al's apology is very sincere, and as noted by Leeann Tweeden, comes from a place of honesty. One gets the sense after hearing Tweeden's interview that the two of them could come to a reconciliation and Franken can go back to work in the Senate, were it up to her. I have a feeling that is now how it is going to work out, though.
The first thing I want to do is apologize: to Leeann, to everyone else who was part of that tour, to everyone who has worked for me, to everyone I represent, and to everyone who counts on me to be an ally and supporter and champion of women. There's more I want to say, but the first and most important thing—and if it's the only thing you care to hear, that's fine—is: I'm sorry.
I respect women. I don't respect men who don't. And the fact that my own actions have given people a good reason to doubt that makes me feel ashamed.
But I want to say something else, too. Over the last few months, all of us—including and especially men who respect women—have been forced to take a good, hard look at our own actions and think (perhaps, shamefully, for the first time) about how those actions have affected women.
For instance, that picture. I don't know what was in my head when I took that picture, and it doesn't matter. There's no excuse. I look at it now and I feel disgusted with myself. It isn't funny. It's completely inappropriate. It's obvious how Leeann would feel violated by that picture. And, what's more, I can see how millions of other women would feel violated by it—women who have had similar experiences in their own lives, women who fear having those experiences, women who look up to me, women who have counted on me.
Coming from the world of comedy, I've told and written a lot of jokes that I once thought were funny but later came to realize were just plain offensive. But the intentions behind my actions aren't the point at all. It's the impact these jokes had on others that matters. And I'm sorry it's taken me so long to come to terms with that.
While I don't remember the rehearsal for the skit as Leeann does, I understand why we need to listen to and believe women's experiences.
I am asking that an ethics investigation be undertaken, and I will gladly cooperate.
And the truth is, what people think of me in light of this is far less important than what people think of women who continue to come forward to tell their stories. They deserve to be heard, and believed. And they deserve to know that I am their ally and supporter. I have let them down and am committed to making it up to them.
The Picture vs. The Mash
People on the internet are being stupid again. And I'm sorry if this offends you, but there is about at 70% chance that this applies to you. But don't worry, it can be fixed.
There are two separate and distinct issues at hand, and many people are accidentally (so far, eventually this will become deceitful) conflating and confusing them.
THING 1: There is a photograph of Franken mugging a shot with his hands in grab position just over the thoracic area of Tweeden's flack jacket, while Tweeden appears to be sleeping. You can see by the shadows, that Frankens' hands are not touching her, and you can see by Franken's facial expression that this is all some sort of stupid middle school level joke or prank. I've heard (subject to correction) that the person who took the picture claims that Tweeden is awake, and that this whole shot is a funny setup of a joke. If on the other hand she is asleep, it is a cruel prank.
THING 2: The other thing is the rehearsal mash. A mash is a forceful unwanted kiss. Or, it could be a kiss that is not unwanted but ends up being forceful in an unwanted way. According to Tweeden, Franken insisted on rehearsing a kiss they were planning as part of a skit he wrote, and she did not want to do that. He kept insisting and eventually she acquiesced, and when it happenned, according to Tweeden, Franken kissed her very forcefully (see the video) and in an unwanted manner. For his part, Franken says he remembers it differently but has not elaborated on what that means.
Here's the THING. Even though the photograph is stupid and embarrassing, and possibly abusive, it does not illustrate the mash. They are two different things. Now you know.
Support Our Troops: Forgive Franken
Watch this USO show. Take note of the remarks about shooting into a village that it was illegal to shoot at, the fecal humor, and the sexual humor. This is what the troops want, this is what USO gives them. Have a look.
Bad behavior is not excused by bad context, but it is potentially explained that way. Should we have USO shows that make light of war crimes, and that use bawdy humor to entertain the troops? Some will say yes, this is what keeps up morale, this is how we support our troops. I expect everyone who would make such an argument to come to Franken's defense regardless of their political motivation!
Early Stages
Hollywood and the world of entertainment are reeling (no pun intended) with the accusations and revelations, firings and resignations. People are identifying, correctly, not only the US Congress but also various state legislatures, as places where male harassment of females is widespread and largely unchecked. Corporate America outside of Entertainment is so far not too affected, but that is not for long, probably.
Those cultures have to change. So do places like the USO as well, places where bad behavior is rewarded and held up as morale building.
And sports. Don't get me started on sports.
I do wonder why this is all happening right now. I know why it is happening now instead of, say, during the middle ages. But I don't know exactly why it is happening now as opposed to, say, 2011 or some other recent year. I also wonder why the dam burst when someone took their finger out of the hole known as Harvey Weinstein, and not back with Cosby. Is that a race thing? Supreme White society expects such things of an African American entertainer? Or was it just unclear to women what the consequences of coming out would be then. Maybe it DID start with Cosby, that was an important dry run.
And of course Trump being president has caused a reset, a re-calibration, a regrouping, across the board with respect to all the issues, especially those surrounding gender and race. That may be part of it.
In the end, I hope we can save Al Franken but I know we probably can't, and maybe shouldn't even want to.
If Al Franken resigns, Governor Mark Dayton will appoint a senator. It will be a female. Who will it be?
And, in my next post, I predict the future: How The Franken Thing Is Going To Play Out
← The Despot's Apprentice: Donald Trump's Attack on Democracy (Book Note) How The Franken Thing Is Going To Play Out →
34 thoughts on "Leeann Tweeden, Al Franken, The Patriarchy, Change"
Obstreperous Applesauce says:
Yeah, there's a questionable theory among some comedy writers that the heart of humor is about thumbing your nose at "convention" and making things happen at the expense of others. There's so much of this that it's as though people are failing to distinguish watching bad behavior in a contrived situation and behaving that way in reality. Or put another way, if the fourth wall crumbles, do you become an obtuse character in your own personal sitcom, always "on"?
Humor is certainly contextual; Seth Myers does some interesting meta-humor where he brings on an African-american woman and a gay women to deliver punch lines to jokes he "can't tell". Trump on the other hand, adopts stand-up rhythms to spew pure stite. Likewise, Limbaugh is presented as hilarious, funny-because-it's-true entertainment instead of the mean, manipulative propaganda that it is.
Personally, I think we should at shelve a lot of the old Catskills and burlesque show attitudes (not to mention minstrelsy) put the forth wall back in place, dial back the stupid, and move on into the 21st century.
MikeN says:
> is a FOX employee
I don't know where she is now, but she was originally for Fox Sports, appearing on Best Damn Sports Show Period many times.
Al Franken says he doesn't know what was in his mind in the photo, but he does know. He likes jokes about getting woman in their sleep, and this was another one.
The mash, wasn't just that. LeeAnn agreed to the rehearsal, she knew what Al was up to, and went along with it. She's probably used to guys harassing her in her career as a Playboy model. What she claims to be surprised by and violated by, is this- when Hollywood rehearses or films kisses, there is no tongue, just some pretending. Al went all in. Lots of prostitutes won't allow this.
and it is not hard to draw a line connecting the Roy Moore election and the present dust up. I am increasingly convinced that this is not relevant here
No. Stop. That is too damn close to people like mikeN, ron, billson, and others saying "well if she was offended she shouldn't have waited so long to speak up", or mikeN's asinine post just above, or other scum who say "if she hadn't been there" or "if she hadn't dressed like that…"
Don't drop to the low-level scummy apologetics the right-wing posters on your site engage in all the fucking time.
No, I'm not leaving his off the table. It is not apologetic, it is prudent. I am not making a very strong statement here, and I even very meaningfully put it parentheses. I'm being cautious and realistic, is all. It may very well not be anything at all, as I stated.
Dean, she agreed to rehearse a kiss with Al Franken. She knew that Al wasn't doing it out of artistic necessity. Indeed, the whole kiss was in the scene at Al's request.
Cut and paste ended too soon: this should have been included (and emphasized)
but I feel the need to keep it on the table at least for now.)
More: https://gregladen.com/blog/2017/11/17/franken-thing-going-play/
bill billson says:
Oh, I can not wait to see whom made the list !
Progressos by a ratio of 3 or 4 to one.
Another example of the transparency of WDC.
http://www.thegatewaypundit.com/2017/11/judicial-watch-fighting-get-details-congressional-sexual-harassment-settlements/
Thank God for Judicial Watch – truth seekers !!
Matthew Rigdon says:
Actors live in a different space than other people. As an actor, you have to be willing to do things that normal people (I call them 'civilians') won't do. It comes with the territory. If you agree to be an actor in a scene where you have to kiss someone, then you kiss them. And you rehearse it. And you rehearse more than kissing in many cases because of what you need to do to make the scene work. I've done this. I've kissed men. I've kissed women. It's what you do. You're trying to create something like real life and you have to do messy things sometimes. Or don't. You can always turn down a job.
Even if it's comedy (and I do improv, so I do comedy) there is still a craft and you still work at it. I'll say, having done both comedy and drama, comedy is harder on an actor. It doesn't get the respect, but you have to go places that you won't go in a dramatic scene. And it taxes more muscles. So just because this was a comedy show for the USO doesn't mean that you just blow it off and say "It doesn't matter. I don't need to rehearse. It's not that big of a deal." If you're a professional, every show matters and you give it your best, no matter what. If a skit says I'm have to kiss Al Franken, then that's what I'm going to do. And I'm going to rehearse it. I'm not dying to kiss Al Franken, but it's part of the job and I don't want to screw up any part of the performance. I was trained, and I personally believe, that you approach every scene as a professional because it's not something you can just 'turn on'. It's more important to be a professional in a rehearsal because you're building the muscles. But I digress.
Now, in her interview, she says, "I'm not an actress, I'm just a host." So she and Al aren't in the same space, for lack of a better term. Actors know that they do what the script calls for. If you can't do it, you turn the job down. She should have turned the job down. She never should have agreed to do a skit where she kisses him. She just shouldn't have agreed to do any skits at all. If you just want to host, then just host. But don't say you want to be in on the acting bit if you really don't. I doubt it would have been a problem. Actors (and she admits she isn't) know their limits and they don't take jobs they can't handle. And you can say that Al Franken was a dumb comic, but he had been a professional writer and actor for decades at this point and he was used to a certain level of professionalism from people he worked with.
And part of this is the idea that somehow Al Franken wanted to kiss her. He must have been looking for a reason to kiss and grope the swimsuit model. I can't speak for Al, but I have had situations where I haven't been that attracted to a scene partner personally, but I still had to do it (and it isn't because of any physical issue. I was out in Los Angeles, where everyone in your acting class and theater is at least an 8 if you're going to rank attractiveness. There aren't any ugly people in Hollywood. The only ugly person who works in Hollywood is Linda Hunt because she's just that awesome.)
And I will freely admit that I have a sort of 'meat market' approach to all of this. It's part of the gig. I know that I'm not being judged by how smart or how talented I am. I'm being judged by what people see on the surface. As an actor, you have to embrace that or at least make peace with it. It's not a business for people who want to appreciated as whole human beings with the entire range of experiences and emotions. You're just another piece of set dressing to a director or producer in most cases.
Oh, no, another predatorcrat !
Dean, are you keeping score. Nah, because you
really know who is good and bad.
http://www.sfgate.com/bayarea/article/De-Le-n-wants-Mendoza-removed-from-Senate-12367195.php?ipid=articlerecirc
Credit goes to the newspaper, for specifying party
affiliation.
Again, your dishonesty, or lack of ability to read at all, is amazing. I said nobody said that only one side is responsible for everything bad.
The sites you like – breitbart and worse — are operated purely to push racist, bigoted, anti-poor, anti-minority, anti-fact, materials to the lower racists and low lifes in the general population. The people who work at those locations and who pay attention to them make a decision to lie, spread racist material, and so on. Scum.
One day I am going to get you, I gonna get, get, get you.
Another Predatocrat falls.
http://www.cnn.com/2017/11/17/politics/fl-democratic-party-chairman-resigns/index.html
Why do you assume they are all Democrats? Haven't you been saying that the Republicans are RINOs? This should make them basically Democrats and equally likely, under your theory that Democrats are the predators?
I wouldn't presume anything like that. If I asked who was the least likely candidate among all presidents and nominees, George HW Bush would come in maybe second behind Romney. Gore would be up there and yet he ended up divorced over it.
Another Predatocrat harming children. Vile, the real scum ponds, Dean.
http://www.topix.com/forum/family/adolescents/TVL1C4KKTQF61J7F9/immigrant-activist-busted-on-child-porn-luring-min
Your DeanShip said "Again, your dishonesty, or lack of ability to read at all, is amazing. I said nobody said that only one side is responsible for everything bad.
Your recurring theme is to make scandalous charges against
anyone whom opposes you.
It is either due to the fact, that you have no debating points
or you simply enjoy debasing people. You, dear Dean, are a
Dyson and an ill functioning one at that.
Old man bushneck, is also a pervert and needs to retire
from any and all limelight.
"anyone whom opposes you
Your grammar is no better than your integrity.
It isn't a scandalous charge, it is a fact. Breitbart and people like them are on record supporting nazis, the KKK, white supremacists, and other low-life scum. I have a feeling, based on your odd defenses, that you like folks in those groups yourself because you're such a good "christian".
Give him a break. His and Greg's favorite newspaper Washington Post published the headline:
White nationalists angered by Mexican immigrant's acquittal in Kate Steinle's killing.
MikeN said "Why do you assume they are all Democrats? Haven't you been saying that the Republicans are RINOs? This should make them basically Democrats and equally likely, under your theory that Democrats are the predators?"
I don't, Mike but as I stated hear, it is bi a ratio of 3 or 4 to one.
The morals of Progressos have a lower threshold. Former Gov
Mark Sanford (R), should have never been elected to the House.
He my still be a member of – My Zipper has fallen but I can
still get it up.
And Oldman Bushneck, should be known as the pinch and
flinch president. It was good to know, that the entire Bushneck
family voted for Ms Uranium Rodham, which finally exposes their true
ideology. Northwoods RINOcans.
Ms Uranium Rodham
Even Fox News has debunked this, so I'm surprised to hear you repeat it now.
You protest, then you go back to breitbar, home of nazis and klansmen.
Wait until, Monday.
How so, BBD?
Widely reported.
But no doubt some new lies have been concocted to paste over the crack.
Your Deanship said "Your grammar is no better than your integrity.
Oh you Grammar NAZI !
You only can throw mud. There are your facts. We do not
want your petty Socshevik prejudice.
BBD, the Gay Shepherd, has a well known
leftist streak.
I do not consider him unbiased in any fashion.
He is an news anchor, yet he engages in adding
his own opinions and editorials.
He is tainted by his own words.
Fox and Hound, has just announced that they have
traded Shep to CNN. for Cooper Anderson and two
unnamed anchors.
Shepard Smith: CNN Is Not "Fake News" LOL; LOL
He also suffers from Trumphobia.
He is an excellent anchor guy but has that internal
need to preach his social justice schemes.
He had to advance the cause of his "community" GLADD
and LGBTQ, rather than staying silent.
He is using Fox and Hound as his social platform – utterly
disgraceful.
the Gay Shepherd
Stay classy, Bill.
BBD, a not so of kind review of Mr Shepard.
https://reelrundown.com/tv/Why-I-Will-Never-Again-Watch-The-Fox-News-Channel-Anchor-Shepard-Smith
But then of course, you both drink from the same bottle.
He simply reported what the rest of us have known for a long time – that the uranium stuff was lies made up by the right wing to smear HRC. But even though this crap has been debunked now by Fox itself, bellends like you still keep on repeating it. Jesus hates a lie, you know.
Shep has debunked only himself, BBD.
Where is his prima prima facie? How did
the Clintons get so rich – being "public"
vassals?
And once again you are no shaky grounds camrade.
https://www.americanewshub.com/2017/11/17/identity-uranium-one-informant-revealed-video-showing-briefcases-full-cash/
Why even the Slime says it is true!
https://www.nytimes.com/2015/04/24/us/cash-flowed-to-clinton-foundation-as-russians-pressed-for-control-of-uranium-company.html
No matter how hard you try, you can't turn the uranium lie into anything other than fake news. I should add that I'm not even vaguely interested in defending HRC as I am British; the only reason this matters is that the endless and blatant lying by rightwing fake news sources pisses in the face of democracy.
BBD, your dialogue consists only of your personal
dogma, rather that providing points of facts.
I am afraid your application to the prestigious Oxford
debating team has been rejected.
Perhaps we can have tea and crumpets, at my manor.
BTW, your public health system is a human disgrace,
much like your national renewal energy and our VA
healthcare.
Cheerio, Old Bean.
From you 🙂
I believed her story until, I went to some of her web site. Her nude video of humping a motorcycle was disturbing. Her interview just 3 months ago with Howard Sterns was so bad I could hardly watch it. Howard caught her in a lie. She said she gave up going to Harvard to model. He said whaa, you must of had some great SAT scores. What did you get. Shes say I don't remeber, 1200. He says no you can't get into Harvard with a 1200. She says a they look at other things. He say hmm, I don't think so, maybe and changed the subject.


What's faster: a 1980s BMW 325ix, or…a Leopard tank? One TV show tried to find out.
We actually have next to no information on this clip (other than rallycross star Piet Dam drives the BMW), since it's in Dutch, but if you can tell what the hell is going on please let us know.


text:
Home of The Creative Camera Archive, plus notes on Photography, Photographers and Photographic Ephemera
Edwin Smith
Life & Work
Books & Shows
Full article listing
Raymond Moore
Introduction to Moore
Remembering Raymond Moore
Moore – In His Own Words
Moore – Published Photographs
Moore on YouTube
Tony Ray-Jones
Olive Cook
Matrix Articles
Cambridge Darkroom
Cambridge Darkroom – Introduction
The First Five Years
Cambridge Darkroom – 5 Year Overview
Exhibitions Chronology
Creative Camera
Creative Camera Archive
1970s – Creative Camera Archive
2000s – Creative Camera/DPICT Archive
Lith & Tone [F]
The Kite Area, Cambridge, 1980s (F)
Boatscapes [D]
Edward Bawden's House – 1989 [F]
Arbor Low (F&D)
Frederick Evans
Hugo van Wadenoyen
Landscape Revolutionary
Modfot One
Peter Soar – 1970s Cambridge
Contact the site…
One for the Money – David Brittain
Colin Osman, Peter Turner and Creative Camera: an essay by David Brittain.
An eerie silence followed the collapse, last summer, of the magazine formerly known as Creative Camera (1). It was dramatically broken this spring by two articles in the press. The first was an emotional first-person "epitaph" for Creative Camera written by its longest serving editor, Peter Turner(2). Shortly afterwards the Guardian, a British broadsheet newspaper, published the obituary of Colin Osman, founder of Creative Camera. Turner's respect and love for Osman is obvious from reading his article – which, given its timing, now seems like a pre-emptive obituary for the man he has called a 'father figure'. Turner and Osman enjoyed one of the most fruitful and controversial relationships of British photography. Despite being divided by a generation and by temperament, they shared many attitudes and convictions: a passion for photography, self-assurance and loyalty, a desire for change and contempt for the establishment. Together and jointly they used Creative Camera to articulate the themes that would define British photography in the 70s and then divide it in the 80s.
30 years of Creative Camera, by David Brittain
Turner and Osman began their association in 1969 when Turner became the second editor of Creative Camera. Turner would edit each monthly issue, while Osman looked after the business side. His wife Grace helped out voluntarily. For the next decade Osman would support the loss-making magazine out of the profits of the pigeon fanciers' magazine, Racing Pigeon, he inherited from his grandfather (known affectionately in pigeon circles as The Colonel). He was also involved editorially – as reviewer, editor of influential special editions and as researcher. While abroad on business for Racing Pigeon magazine Osman would meet contacts that would be useful for Creative Camera. One such celebrated visit to the USSR got Osman an introduction to Rodchenko's family – so Creative Camera could boast that it was the first western magazine to publish unseen photographs by the forgotten constructivist.
Among Osman's many passions were the Soviet avant-garde; the American Photo-League; the photojournalism of Europe and Drum in South Africa; and nineteenth-century English social photography. This interest in radical causes and print was influenced by his childhood in London; the family business was publishing, of course, and Osman remembers the house being packed with books and periodicals (3). Importantly, his father was a member of the left-wing Fabian Society. In 1995 he told an interviewer that if he hadn't been "inclined to socialism" he would have become converted after serving as a seaman in the Royal Navy, after the war (4).
In the 70s Creative Camera assumed two distinct identities – each reflecting the personalities of the duo that produced it. Osman was concerned with the pre-war European roots of British photography. He knew prominent figures, such as Kurt Hutton, who were featured and interviewed. Others, like Picture Post photographer Tim Gidal, became close friends. By contrast, Turner was interested in contemporary trends that came from the U.S. and he was a great champion of Robert Frank. Turner was primarily inspired by the processes of design and editing; he relished working with photographers. Neither man had time for analytic texts and this often angered critics(5). With hindsight one can see that historical and contemporary strands were discrete and complementary. For instance the notion that the best contemporary photographers belonged to a "documentary tradition," based in the pictorials of the 30s, was hotly contended. So to champion British contemporaries such as Chris Killip and Chris Steele-Perkins, while celebrating émigré photographers of the pre-war era, was to take a stance. Meanwhile, Osman's foraging into uncharted areas of photography unearthed material which shed light on overlooked histories – such as the Arbeiterfoto movement of 30s Germany and the work of John Heartfield. This was of huge interest and relevance to Jo Spence, among others, whose evolving practice and theory was informed by the European anti-Nazi resistance (6).
It seems Turner was able to work with Creative Camera's owner easier than his predecessor, Bill Jay. When Osman met Jay the latter was on a one-man mission to shake up British photography from the slumber of the pre-war years. Jay convinced Osman that he should purchase an ailing amateur title called Camera Owner and then turn it into something "serious" like Photography magazine, once under the editorship of Norman Hall. Osman agreed and Camera Owner morphed into Creative Camera in February 1968 with a reforming agenda. Osman and Jay fell out after the latter left to edit the short-lived Album.
Osman and Turner seemed unlikely bedfellows. Osman was 41 when he founded Creative Camera and still affected by the harsh experience of war-time London. Turner, in his early 20s, was idealistic and (by his own account) arrogant. He studied photography at art school in Guildford in 1965, at a time of student sit-ins. Before Osman became a serious amateur, he had been jobbing photographer for Racing Pigeon and a cheesecake photographer. Turner had discovered Creative Camera while eking out a living as a journalist with a consumer photography title and a some-time commercial photographer. He was instantly impressed by Bill Jay's no-holds-barred style and was galvanized by meeting his fellow co-editors David Hurn and Tony Ray-Jones, who were both renowned photographers at the time. For Jay, as for Turner, photography was one of the radical causes of the 60s and he continued to think of himself as a sort of activist.
From that point on photography became Turner's surrogate family and Osman his surrogate father. His life would follow a trajectory from the youthful idealism of the early 70s to the testing realities of the 80s; a trajectory that parallels the story of British photography itself. With Jay in the U.S., he was free to assume the mantle of guru and proselytizer, defining the identity of the emerging scene, travelling the world to meet the key players, and advising, voting or lobbying on all the panels that mattered. Then in 1978 he abruptly left the magazine, to teach and to publish photography books. Things took a downturn in the 80s as Turner's publishing company, Travelling Light, sank into financial trouble. He seemed to disappear from the scene as the scene itself polarized into pro- and anti-icon factions with Creative Camera as one of their battlegrounds.
In 1986 Turner and Osman began their second collaboration at Creative Camera. The magazine they had edited effectively died in 1980 when Osman couldn't afford to support it. It returned in 1981, resuscitated by an Arts Council grant. While Osman assumed ownership, he relinquished some control over contents to an editorial board that was put in place at the insistence of the new funders. Turner was a member for a while. From most accounts it was an uncomfortable ride for everyone. One board member complained that Osman obstructed their aims and kept all the review books. Osman disliked the imposition of the board, comparing the Arts Council with an iron-curtain communist regime. He once told me that some board members tried to stage what he called 'a putsch' by conspiring with the Arts Council to acquire the title without consulting him.
Eventually Osman and Turner found themselves in the firing line as part of the wide-ranging – at times vituperative – critique of modernism, emanating from Britain's new academic courses, and finding expression in Ten. 8 magazine, also funded by the Arts Council. Creative Camera was singled out for promulgating a narrow, elitist view of photography and being non-critical and anti-intellectual. Its ethos of "us and them" and "good versus bad" seemed outmoded and irrelevant. It had originated with Bill Jay who saw Creative Camera as an avenging vehicle that would purify photography – galvanize right-thinking people against the shabbiness of club photography and rank commercialism as well as snobbery if – Osman preferred to underwrite losses rather than make compromises with content to attract more conventional readers, then surely he had the right to publish whatever he wanted. The fact that Creative Camera didn't seem to have a reader that could be imagined, and appeared indifferent to the consequences, made it eccentric, rebellious and unpredictable. This gave it a character that some readers valued highly as an antidote to both consumer publishing and "saintly" academic journals.
Turner has credited Osman with being the benefactor of Creative Camera and, axiomatically, a patron of British photography at a formative moment. Osman would usually dismiss suggestions that he was in the least altruistic. He would give a sensible reason for his commitment to Creative Camera. It was ostensibly for sound business reasons: that he saw the magazine as a way to promote sales in the Book Room (the fabled photography bookstore, run by Grace, that shared a building in Doughty Street with Racing Pigeon and Creative Camera). He told an interviewer that he got into photography publishing as an indulgence – a way to escape the "claustrophobia" of the pigeon-racing world (7). He was rightly proud of the cultural achievements of his magazine – those he could identify with – but he was always sure to mention his collaborators when there were compliments being handed out. Without Osman's generosity there would have been no Creative Camera, yet to be owner of an influential magazine had its advantages – such as status and access to knowledge and contacts. He developed a profitable sideline wheeling and dealing. He wrote articles (latterly as editor of the Royal Photographic Society's Photo Historian) and books that were designed to create a demand for objects in his vast collection. Together with Tim Gidal he made a killing selling a complete set of Berliner Illustrirte Zeitung to the art library at the Victoria & AlbertMuseum (8). Another perk of the job was influence, of course, and Osman used his voice to agitate energetically on behalf of photography at the highest levels of the art world. In the January 1982 issue he had readers transfixed when he defied the (then) director of the Tate gallery in London to define the difference between an artist who takes photographs (who would be represented in the collection) and a photographer (who wouldn't).
Osman always regretted that Creative Camera couldn't be made to pay its way. He felt let down by "serious photographers" and would routinely curse Camera Owner's distributors for falsely inflating the circulation figures. Then one day he admitted that he had himself to blame. "It took me a very long while finally to admit that my dream…was in fact only a dream (9)." When Osman finally sold Creative Camera in 1986 some smelled a plot to reinstate modernism by the back door because Turner was mysteriously appointed as editor. Details of the hand-over from Osman's company, Coo Press, to the non-profit-making company, CC Publishing, are murky even today. Osman received an undisclosed sum in return for the title and its assets, and obviously pushed to have Turner back. Meanwhile the troublesome editorial board was dissolved. Asked why he sold up, Osman gave reasons of health (he was always plagued by bad eyesight) and complained that he'd lost patience with the 'PC' Arts Council(10). He was 60.
I got to know Turner midway through his second term as editor, a few years before I become his deputy editor. Though visibly drained by the effort of producing a monthly, virtually his passion and self-deprecating wit. Plainly editing this version of Creative Camera was a lot different. He was torn between loyalty to those readers from the 70s, who shared his values, and the need to address the aspirations of younger readers – and he had to pay attention to the shifting agendas of the Arts Council, which supplied around half the income. When I joined Creative Camera in 1989, Turner began grooming me for his job. One of the last issues he edited before leaving for New Zealand, in 1991, was one of his best – a survey of new British photography featuring upcoming talents of Brit Art. In the true Creative Camera spirit this was ahead of its time.
I last saw Colin and Grace in June 2001 for sandwiches and wine at their cluttered north London home. Even though Colin had resigned from my board several years previously, I felt that he deserved to hear the fate of the magazine from me. I remember he gave one of his withering sighs and shook his great bearded head. I will remember Colin with great affection as an otherworldly figure that was a bit of a rogue but had a lot of integrity.
For some the Creative Camera of the 70s, with its silver covers, was the ultimate photography magazine, while for others it was a travesty. The magazine evolved from the contrasting personalities of Jay and Osman, but that relationship was too volatile to endure. Turner's willingness to work with Osman ensured that Creative Camera would benefit from a combination of tradition and reforming zeal as well as a shared love of subversion.
(1) DPICT, the successor to Creative Camera, which I edited, was forced to fold last June (2001) after the Arts council of England completely withdrew its funding.
(2) Peter Turner, Kiss the Past Goodbye: An Epitaph to creative camera," New Zealand Journal of Photography, No. 2, Summer 2001, p. 5. (Reproduced on this web site)
(3) Oral History of British photography (1996). Interview with Colin Osman (tapes F4328-4334.) He was Interviewed in 1995.
(4) Ibid.
(5) In April 1973 the magazine, Le Nouveau Photocinema, criticized the magazine far the "absence of critical appreciation by the editors."
(6) Jo Spence, Putting Myself in the Picture (London, England: Camden Press. 1986), p. 62.
(7) Oral History of British photography (1996). Interview with Colin Osman (tapes F4328-4334).
(10) Ibid.
DAVID BRITTAIN was the Editor of Creative Camera, latterly DPICT, from 1991 to 2001.
COPYRIGHT 2002 Visual Studies Workshop
COPYRIGHT 2002 Gale Group
Last reviewed/updated: Thursday, October 26, 2017
© 2020 Roy Hammans. All rights reserved.
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text:
Home › News Summaries › SciBites: Week of November 11th
SciBites: Week of November 11th
News Summaries	 November 11, 2016 0 Tessa Gregory
Population size differences may have driven loss of Neanderthal genes
Humans and Neanderthals interbred tens of thousands of years ago, but over time, natural selection has purged many Neanderthal genes from the human genome. To understand how modern humans lost these genes and how humans and Neanderthals remained distinct, researchers from the University of California, Davis, have developed a new method for estimating the average strength of natural selection against Neanderthal genetic material. Their findings were recently published, and according to lead author Ivan Juric, "The key finding in our study is that the current levels of Neanderthal ancestry in modern humans are in part due to long-term differences in human and Neanderthal population sizes."
Rising CO2 levels could severely impact coral reefs and people who rely on them
Rising levels of atmospheric carbon dioxide lead to ocean acidification and rising sea surface temperatures – effects that pose a threat to shallow, warm-water coral reefs and the communities who depend upon them for fishing, tourism or as natural barriers to protect shorelines. In a recent study, researchers from the Université de Bretagne Occidentale in France identified countries where people would most likely be affected by coral reef habitat loss by 2050. "By 2050, coastal communities in Western Mexico, Micronesia, Indonesia, parts of Australia and Southeast Asia will bear the brunt of damage to coral reefs caused by rising temperatures and ocean acidification," says Linwood Pendleton, the study's lead author.
Mutations that enable drug resistance may also enhance growth of malaria parasite
Some genetic mutations that allow the malaria-causing parasite Plasmodium falciparum to resist drug treatment could also help the parasite grow, according to a new study from the Columbia University Medical Center in New York. The researchers used a gene editing technique to investigate how mutations to the P. falciparum gene known as pfcrt could enable drug resistance and growth in the parasite. Their findings contribute to scientists' understanding of these genetic mutations, which could help inform future malaria treatment efforts.
Image Credit: Jaysmark, Flickr, CC BY
climate change, Columbia University Medical Center, Malaria, Neanderthal, PLOS Genetics, PLOS ONE, PLOS Pathogens, Université de Bretagne Occidentale, University of California Davis
Irrational decisions may be rooted in primitive behaviors
Invisible Ebola: Some people may survive viral infection without showing symptoms


How Far Will DraftSight Go?
I often receive briefings from CAD vendors regarding upcoming product announcements, partnerships, etc. Often the contents of these briefings are embargoed till the company issues an official press release on the subject. The logic of doing this is to give people adequate time to write about the subject. I have my own views on that topic, but that is besides the point here.
The other day I found myself in a rather peculiar situation. I inadvertently accepted an embargo whereby I agreed not to write about something that I had already written about. I am referring to DraftSight, the new free 2D CAD offering from Dassault Systemes. When the product was initially announced on June 22nd, Dassault Systemes made no mention of the fact that DraftSight was based on the ARES CAD engine from Graebert. Apparently, someone from Dassault Systemes decided that it would be a good idea to wait for two weeks to make that announcement, the logic of which is way beyond the limits of my comprehension. When I downloaded and installed DraftSight on the 22nd I realized that it was nothing but ARES (see "Dassault Systemes DraftSight Based On Graebert's ARES Platform"). Actually, the copyright notice in the DraftSight about box didn't say much at all. But one look at the files in the DraftSight installation folder was enough to tell me that this was just another installation of ARES.
With DraftSight, we hope to create some sort of an analogy to open source by letting the community decide which way the product should head without giving them the hassle of maintaining it.
Common sense dictates that the community will want just about everything to be added to DraftSight. Just how much Dassault Systemes and Grabert will listen to the wishes of the community is left to be seen.
As a plug-in developer I am looking at this with great interest. We just ported one of our DRX plug-ins to work with ARES and are working on porting the others. ARES is built on the ODA Platform for which plug-ins are being created every day, especially plug-ins that previously ran on AutoCAD. Here is a screen shot of today's build of STL Import for ARES which I could just as well call STL Import for DraftSight.
In its present form, DraftSight has not been allowed to load plug-ins. But I am told that when it comes out of Beta users will be able to change that my paying for API access and support. Oh yeah, contrary to what many think, Dassault Systemes actually intends to make money off DraftSight. Or maybe cut off as much revenue to Autodesk as possible, depending on the way you look at it.
In recent times, Dassault Systemes has been making a tremendous amount of noise around the word "community". DraftSight is a wonderful opportunity for them to put their money where their mouth is. Whether they actually succeed in doing that is something that I intend to closely keep an eye on.


The 27th Annual European Pensions Symposium, which is hosted by Institutional Investor Forums, will be held in Rome from 6th to 8th February 2019. The event seeks to share best practice and innovation between European institutional asset managers and owners as well as examining the current views on investment opportunities, asset allocation and risk management.
Listed in: Pension Funds Conferences, European Pension Funds Conferences, Investment Consultants Conferences, UK Pension Funds Conferences, Other Institutions Conferences, Institutional Asset Managers Conferences, Investment Process Conferences, Markets Outlook Conferences, Global Economic Outlook Conferences, Alternative Asset Classes Conferences, Private Equity and VC Conferences, Commercial Real Estate Conferences, Regulation and Compliance Conferences.


text:
Q: Google bigquery (GBQ) churn / retention rate from previous month I'm using google bigquery and try to understand monthly churn from the following table, e.g. 1 user (C) churned, and 1 user (D) is new.
My thought was to self join and see which user shows 'null' in current month as a churn, 'null' in previous month is new. But the query returns to "left" join result when I'm using "full join". How should I fix it? I'll be open to other approach as well! thank you!

userid
active_month

A
Jan 2022

B
Jan 2022

D
Jan 2022

A
Dec 2021

B
Dec 2021

C
Dec 2021

A
Nov 2021

B
Nov 2021

select
t1.active_month,
count(distinct t1.userid) recent_user,
count(distinct t2.userid) previous_user,
count(distinct case when t1.userid is null then t2.userid end) as churned_user,
count(distinct case when t2.user is null then t1.userid end) as new_user
from table t1
full outer join table t2
on t1.active_month = datesub(t2.active_month, interval 1 month)
and t1.userid=t2.userid

A: The two problems I see with your query are:

*

*the join clause should be reversed, so subtracting 1 month from t1.active_date instead of t2.active_date

*when you select the t1.active_month you need to coalesce with t2.active_month because it's a full outer join

I have slightly changed your query and added one more condition in the calculation of churned_user to exclude the t2.userid with t2.active_month equal to the most recent active_month. Now it should be correct.
select
coalesce(t1.active_month, t2.active_month) as active_month,
count(distinct t1.userid) recent_user,
count(distinct IF(t2.userid is not null and t2.active_month is not null and t2.active_month <> (select max(active_month) from table), t2.userid, NULL)) previous_user,
count(distinct case when t1.userid is null and t2.active_month <> (select max(active_month) from table) then t2.userid end) as churned_user,
count(distinct case when t2.userid is null then t1.userid end) as new_user
from table t1
full outer join table t2
on date_sub(t1.active_month, interval 1 month) = t2.active_month and t1.userid = t2.userid
group by 1
order by 1

Just as an alternative approach the following would also calculate for each month:

*

*recent_user: as the number of active users for a month

*previous_user: as the number of active users for the previous month

*churned_user: as the number of users that were last active on a month

*new_user: as the number of users that are first seen on a month

Window functions LAG and LEAD come in handy for calculating the previous and next active month for each userid
WITH
  table AS (
  SELECT
    MAX(active_month) OVER() AS current_month,
    userid,
    active_month,
    LAG(active_month) OVER(PARTITION BY userid ORDER BY active_month) AS previous_month,
    LEAD(active_month) OVER(PARTITION BY userid ORDER BY active_month) AS next_month
  FROM
    original_table
  ORDER BY
    userid,
    active_month)
SELECT
  active_month,
  COUNT(userid) AS recent_user,
  COUNTIF(DATE_DIFF(active_month, previous_month, MONTH) = 1) AS previous_user,
  COUNTIF(next_month IS NULL AND active_month <> current_month) AS churned_user,
  COUNTIF(previous_month IS NULL) AS new_user
FROM
  TABLE
GROUP BY
  active_month
ORDER BY
  active_month

redpajama_set_name: RedPajamaStackExchange


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cook shack grill silver springs.
drop leaf deep drawer kitchen island by craftsmen catskill empire.
vinyl floor calculator kitchen sheet flooring.
satin pillow cover for less friction and tangling covers amazon.
the fort sofa you pottery barn wichita falls texas.


9Device.com – When you actually need save Canon i70 driver: not found Canon i70 printing device in Devices list, can't print anything, reinstall Canon laser printer, add and also connect your personal Canon i70 to new laptop or computer, in the first time use Canon laser printer.
Do you actually want set up Canon i70 lazer printer on?
+ Now, Open Canon i70 lazer printer driver directory. If people see a Setup.exe or something.exe please double click to run it.
+ Canon i70 CAPT Printer driver – Setup Wizard appear, to continue the installation, click "Next" & follow the instruction to finish setup Canon i70 printing device driver.


Spencer Gelernter & Associates • Atlanta Area Therapies - Leah Ferris-Yankus, Ph.D.
Dr. Yankus is a licensed psychologist who provides psychological evaluations for children, adolescents, and college-age individuals. She helps parents and teachers understand a child's learning style and educates students about their strengths and needs. She also conducts evaluations for adults seeking deeper understanding and/or diagnostic clarity about issues pertaining to learning, attention, personality, and mood.
Dr. Yankus received her Bachelor's degree in psychology from Emory University in 1989. In her first position, she worked as a Mental Health Assistant at an in-patient psychiatric hospital on the children's unit. Later, she worked as a teaching assistant and eventually a lead teacher at a K-12 school for children with learning differences. In 1991, she entered the University of Georgia, where she earned a Master's degree in 1994 and a Doctorate degree in Educational Psychology with a minor in marriage and family therapy in 1996.
As part of her doctoral training, Dr. Yankus participated in an internship at Children's Hospitals of Minneapolis and St. Paul in Minnesota, where she evaluated children for learning disabilities, ADHD, Down Syndrome, developmental delays, and/or Autism Spectrum Disorders. For five years, she served as the School Psychologist for The Howard School in Atlanta, which specializes in serving children with language-based learning disabilities and differences.
With hectic lifestyles, we realize that you may need a more flexible schedule for your appointments. We offer early morning and evening appointments for your convenience and peace of mind.
In a rapidly changing health-care environment, stability is a welcome alternative. We will continue to service this community for many years to come.


text:
<?xml version="1.0" encoding="utf-8"?>

<RelativeLayout xmlns:android="http://schemas.android.com/apk/res/android"
    android:layout_width="match_parent"
    android:layout_height="match_parent">

    <LinearLayout
        android:id="@+id/no_attendance_view"
        android:layout_width="match_parent"
        android:layout_height="match_parent"
        android:gravity="center"
        android:orientation="vertical"
        android:paddingBottom="50dp">

        <ImageView
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:id="@+id/perfect_attendance_image_view"
            android:src="@drawable/perfect_attendance" />

        <TextView
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:layout_marginTop="20dp"
            android:text="@string/perfect_attendance"
            android:textAppearance="@style/TextAppearance.AppCompat.Medium" />

    </LinearLayout>

    <android.support.v4.widget.SwipeRefreshLayout
        android:id="@+id/attendance_swipe_refresh_layout"
        android:layout_width="match_parent"
        android:layout_height="match_parent">

        <android.support.v7.widget.RecyclerView
            android:id="@+id/attendance_recycler"
            android:layout_width="match_parent"
            android:layout_height="match_parent"
            android:clipChildren="false"
            android:clipToPadding="false"
            android:divider="@android:color/transparent"
            android:dividerHeight="10dp"
            android:drawSelectorOnTop="false"
            android:layoutAnimation="@anim/layout_swipe_in"
            android:nestedScrollingEnabled="true"
            android:paddingBottom="7dp"
            android:paddingEnd="7dp"
            android:paddingStart="7dp"
            android:paddingTop="7dp"
            android:scrollbars="none"
            android:visibility="gone">

        </android.support.v7.widget.RecyclerView>

    </android.support.v4.widget.SwipeRefreshLayout>

</RelativeLayout>

redpajama_set_name: RedPajamaGithub


Size: 50 inches across, length 14 inches tall not including the header.
50 inches width will cover about 30-49 inches of window width.
Length is measured from the top stitch line of the rod pocket to the bottom edge of the valance.
We usually ship out this product within 8-9 weeks.


Continuing the popular Church Micro series. A cache situated opposite this village church with handy parking.
There is no mention of a church here in Elston in Domesday.
The tall, slim, only slightly buttressed 13th century tower appears to be the oldest part of the building. The church is of stone, in Gothic style, consisting of a chancel, nave with arcades of 4 bays, north and south aisles and an embattled west tower with pinnacles, clock and 6 bells.
The Perpendicular clerestory and aisles were restored in 1827, 1859 and 1882. In 1859 the chancel was renovated and fitted with oak stalls and an organ.
Visitors often come to see the mural monuments to the Darwin family. (Also some for the Lascelles.) Several are by Wallis of Newark (1789-1816); and three by Tyley of Bristol, for 3 Darwin children who died aged 13, 14 and 15 in the 1830s, are of good quality, as is the tablet to Elizabeth Hill Darwin, (d1827) by Taylor of York.
Fgnaq snpvat gur puhepu, ybbx gb gur yrsg. Onfr bs vil pbirerq ohfu ng gur raq bs gur chyy va.
Cyrnfr uvqr bhg bs fvtug.


text:
Q: Proper way to disable jQuery UI dragging on some members of a class So I have a class to which jQuery UI draggable is applied too.
I want some classes in that are also members of that parent class to not be draggable.
I've tried:
$('.class:not(.class1, .class2, .class3').draggable({
    //
});

Here is a JS Fiddle: http://jsfiddle.net/kLpJ8/2/
also
$('.class').not('.class1, .class2, .class3').draggable({
    //
});

Here is a JS Fiddle: http://jsfiddle.net/kLpJ8/3/
also
$('.class').not('.class1').not('.class2').not('.class3').draggable({
    //
});

Same JS Fiddle as above
and
$('.class').draggable({
    start: function(){
        if($(this).is('.class1')) return false;
        if($(this).is('.class2')) return false;
        if($(this).is('.class3')) return false;
    }
});

This blocks everything: http://jsfiddle.net/kLpJ8/4/
None of these seem to work.
Is there a way in CSS or JS / jQuery that I can properly disable draggable? Why I want to is so that elements of these smaller classes' text can be highlightable and selectable so that the contextual right-menu can be triggered and the user can copy or anything in the menu.

A: You need to pass "destroy" as a parameter for draggable, so your code will look like
$('.class').draggable();
$('.class1, .class2, .class3').draggable("destroy");


text:
Q: Send current location in Messages app running iOS 12 In older versions of iOS, the Messages app had an i character in a circle which allowed us to send our current location to the other person. The location could be one-time snapshot of location, or a location updateable for a certain amount of time.
The i-in-circle is gone in current iOS.
Can I send current location in Messages?

A: Tap recipient's name > info button > Send My Current Location (or Share…)
Sure, It's just two taps away. But it's not visible, so you wouldn't know it by looking.
Tap the name under the icon for your contact in details. (this tap target it pretty small, so you might miss it first time you try)
The panel expands to display audio, FaceTime, and info buttons. Tap the info button to display a panel with several items. One of this items is the option to send current location, either snapshot or ongoing.

Then tap, Send My Current Location (this one is thankfully easy to tap)


Sonic Drive-In launches ice cream cookie sandwiches in two varieties at participating drive-ins for a limited time. Credit: Business Wire.
US drive-in restaurant Sonic Drive-In is set to expand its menu with the launch of three new items Red Bull slush, Oreo cookie and chocolate chip cookie ice cream sandwiches.
The company is previewing these newest offerings at Moschino's Desert Party, Phoenix, and Dallas, starting 13 April. Sonic is Italian luxury fashion house Moschino's sole food partner.
The partnership will allow the restaurant chain to serve as sole food partner to the fashion house and offer new treats to guests.
The ice cream cookie sandwiches are available in two varieties at participating drive-ins for a limited time while the Red Bull Slush will be available in Red Bull or Cherry Limeade flavours.
Sonic Drive-In chief marketing officer Lori Abou Habib said: "At Sonic, we're bringing high energy to Moschino's famous Desert Party to celebrate summer early, and then extending that special experience to Phoenix and Dallas with some of our latest delicious and most playful creations.
In addition, Sonic will run a 15ft food truck in tow starting from Indio, California, for the annual party and then will visit Phoenix and Dallas.
Last month, the drive-in restaurant added a new limited-time Brunch Burger to its menu available at participating locations across the US.


text:
Australia to strike ISIL in Syria and take refugees
Prime Minister Tony Abbott says Australia will target armed group within days, and accept 12,000 Syrians and Iraqis.
Abbott reversed on comments made on Sunday, when he said Australia was not planning to boost the overall intake of refugees [EPA]
Australia has announced it will launch air strikes against Islamic State of Iraq and the Levant (ISIL) group targets in Syria within days and resettle an additional 12,000 refugees from the deepening humanitarian and security crisis in the Middle East.
Prime Minister Tony Abbott also announced Wednesday that his government will pay an additional $31m to support 240,000 Syrians and Iraqis in refugee camps in Jordan, Lebanon, and Turkey.
Labor welcomes the Abbott Govt's announcement to provide 12,000 additional places for people fleeing persecution in the Middle East. #auspol
— Bill Shorten (@billshortenmp) September 9, 2015
On Sunday, Abbott said Australia would allocate more spaces in its 13,750 annual intake quota to those fleeing violence in Syria, but did not plan to boost the overall intake, sparking criticism from across the political spectrum.
The opposition Labor Party was among the critics, calling for an additional 10,000 refugees to be resettled from Syria.
After Abbott announced an even higher figure on Wednesday, opposition leader Bill Shorten said that the plan had bipartisan support.
The Australian government will give preference to women, children and families from persecuted minorities from Jordan, Lebanon, and Turkey, Abbott said.
The prime minister also announced that Australia's involvement in strikes against ISIL, which already take place in Iraq, could extend to Syria within days.
"Destroying this death cult is essential, not just to ending the humanitarian crisis in the Middle East but also to ending the threat to Australia and the wider world," Abbott said.
The government said the legal basis for extending air operations into Syria was the collective self-defence of Iraq as the armed group did not respect national borders.
"We are exercising the right to collective self-defence under Article 51 of the UN charter in striking Daesh [ISIL] in Syria," Abbott said, adding that the focus of the campaign would be on ISIL, and not the Assad government.
"We have no legal basis at this point in time for wider strikes in Syria and we don't intend to make wider strikes in Syria," he said.


text:
The Quartet
Ana Sokolović: Short Stories
Bozzini Quartet
01. Ana Sokolović, Ghost 1 (2015), 52s
02. Ana Sokolović, Capitano, 2m46s
03. Ana Sokolović, Colombina, 2m16s
04. Ana Sokolović, Dottore, 4m20s
05. Ana Sokolović, Brighella, 3m12s
06. Ana Sokolović, Pantalone, 3m57s
07. Ana Sokolović, Isabella, 6m06s
08. Ana Sokolović, Zanni, 3m51s
09. Ana Sokolović, Signora, 4m43s
10. Ana Sokolović, Innamorati, 3m12s
11. Ana Sokolović, Ruzzante, 4m30s
12. Ana Sokolović, Ghost 2 (2015), 1m28s
13. Ana Sokolović, Blanc dominant (1998), 14m17s
14. Ana Sokolović, Troisième page après le soleil (2013), 5m47s
In most of Ana Sokolović's work, an extra-musical element serves as a source of inspiration. This particular compositional process is intimately linked to the importance of "pluralities" for Sokolović; a diversity of approaches, putting different art forms in dialogue. Short Stories by Sokolović's long-term collaborator, Quatuor Bozzini, enables us to listen to the encounter taking place between the composer's artistic sensitivity and four of her sources of inspiration. In the realm of visual arts we discover the composer's interest in sculpture; her miniatures, Ghost 1 and Ghost 2, were inspired by Verina Baxter and Klaus Duschat's Enzo's Tumpkin and Scetch II. Triggered by a contemplation of Guido Molinari's pictorial universe, the theme and variations Blanc dominant offers a musical connection to the artist's paintings; a sounding tribute, the "recording of an enchantment." With Troisième page après le soleil, Sokolović enters the universe of a short film by Theodore Ushev. The music for this frenetic tableau takes on quasi-narrative qualities. The final piece is a three-part fresco work, Sokolović's Commedia dell'arte, which includes a commission by the Quatuor Bozzini. The characters that share the stage of the Commedia and their archetypal personalities have fascinated Sokolović since childhood, and the theatricality of the genre still vividly resonates with the composer's entire musical production: a direct and intelligible discourse, music that is at once rich, complex, bringing forth archetypes that can be understood and transposed to any age and any nation. — Emanuelle Majeau-Bettez
Collection QB
CQB 1925
actuellecd.com Order the CD actuellecd.com Order the Digital
Page cat@cqb_1925generated in Montréal by litk 0.600 on Monday, January 6, 2020. Development & maintenance: DIM.


LB Kevin Pierre-Louis made his Jets debut.
Following their seven play, 75-yard drive that resulted in a 28-yard touchdown reception by RB Bilal Powell, the Jets have now registered opening second-half scoring drives in each of their first two games.
The Jets defense brought down Ryan Tannehill three times in the first half with sacks by S Jamal Adams, DL Henry Anderson and LB Brandon Copeland, and then on the opening drive of the second half on a strip sack by LB Jordan Jenkins. Both the three first half sacks and the four sacks for the game were the most by the Jets since they recorded seven vs. BUF (11/02/17). Additionally, the four sacks by the Jets came for a loss of 46 yards, the most yards loss on sacks since they had 47 vs. TEN (12/13/15).
In his second start, rookie QB Sam Darnold threw for 334 yards, completing passes to eight different players. In the game, WR Quincy Enunwa (92 yard), WR Terrelle Pryor (84) and RB Bilal Powell (74) all surpassed 70 yards receiving, the first time three Jets receivers each gained 70+ yards in a game since Enunwa, WR Brandon Marshall and WR Eric Decker accomplished the feat at BUF (09/15/16).
In the defense's second drive, S Jamal Adams recorded a sack on first-and-ten, forcing a fumble (recovered by MIA) for a loss of seven yards, tallying the third sack and second forced fumble of his career and the Jets' first sack of 2018. Adams also finished the contest tied for the team lead in tackles with seven (four solo).
Early in the first quarter, DL Henry Anderson brought down Tannehill for a loss of 15 yards, forcing a MIA punt and marking his first sack as a New York Jet.
Halfway through the second quarter, LB Brandon Copeland brought down Tannehill on third-and-five, forcing a MIA punt and marking the first full sack of his career, after he registered a half-sack as a rookie with DET in 2015. Copeland finished the contest with three solo tackles, one sack for eight yards and two quarterback hits.
With his 334 yards passing, QB Sam Darnold (21 years, 103 days) became the youngest player in NFL history with a 300-yard passing performance, passing former HOU QB Jacky Lee (21 years, 137 days) who accomplished the feat vs. BPA (11/25/60).
For the game, Darnold was 25-of-41 passing (61%) with a touchdown and two interceptions for a 74.6 passer rating.
WR Quincy Enunwa tied his career best in receptions and led the team for the second week in a row, hauling in seven receptions for 92 yards. Through the first two games Enunwa has tallied 13 receptions for 155 yards and a touchdown. His 92 receiving yard are tied for the third-most he's recorded in a game.
With time winding down in the first half, TE Chris Herndon hauled in the first reception of his career, catching a short pass to the sideline and taking it 17 yards to extend the drive. Herndon finished the game with two catches for 30 yards.
On the first defensive play of the second half, LB Jordan Jenkins brought down Tannehill, forcing a fumble that he recovered himself on the MIA 12. For Jenkins, three of his career six full sacks have been strip sacks.
At the start of the fourth quarter, K Jason Myers connected on a 55-yard field goal to cut the deficit to 11. The field goal, tied for the third-longest in franchise history, is also tied for the longest field goal at home.
In the Jets first drive of the second half, RB Bilal Powell caught a pass over the middle and ran it in for a 28-yard touchdown, putting the first points on the board for the Jets. Powell's catch was the longest receiving touchdown of his career, surpassing his previous best of 25 yards on a pass vs. NYG (12/05/15), while his 74 receiving yards in the game were the most since the contest vs. NYG as well.
CB Buster Skrine has led or tied for the team lead in tackles in each of the Jets first two contests this season, recording seven tackles in each game.
Late in the third quarter, LB Avery Williamson recovered a fumbled snap by MIA, the third fumble recovery of his career and his first since 2014. Williamson finished the contest with four solo tackles, one quarterback hit and a fumble recovery.
WR Terrelle Pryor caught four passes for 84 yards, including a 44-yard catch and run in the second quarter, the game's longest play. Pryor's 84-yard performance is the most receiving yards he has recorded since Week 17 of the 2016 season when he totaled 94 yards on seven receptions for CLV at PIT (01/01/17).