- the good days, online carnival, the line will follow crazy, Li Chen is at exactly the good days in Beijing, Chaoyang District, her own restaurant opened the ribbon.
Li Chen as an investor, is also a hands-on, although Fan Bingbing is not to add to the fun, but the atmosphere is good.
" with Li Chen's platform, customers also come to see so many people to eat noodles, Li Chen is happy with the champagne.
the scene crying over, and go to micro-blog after the call, Pan Jinlian once a month, Li Chen finally released their own advertising.
" in one hand and a hamburger, a holding Youpo surface, it seems quite an appetite, but this write too stiff.
" however, eat melon and will not care about the masses, Li Chen's appeal is still very powerful, a water man ran away to eat noodle.
Li Chen restaurant decoration style is very simple, very spacious, not a luxury, is playing the Shaanxi pasta gimmick.
" but the problem is that the price is a little expensive, have released a small noodle meal list, a bowl of beef noodles, to sell thirty dollars, and a bowl of egg noodles to twenty-five.
" as Youpo surface is such that the dishes, a large bowl, but slightly less weight, insipid, to tell the truth I have no appetite of what.
" and the hamburger is not where to go, the meat inside out, a dozen blocks to sell, and feel on the side of a small cart.
" as for the taste, mixed, some people do not feel good is not authentic, some people think that delicious soup is finished, but the star of the shop are almost like this, the price is expensive, but also not good.
2.Origgi will play what role in the slag's uncle?
11.Images show "hundreds of UFO" taking off from the moon's surface.


text:
Future Westport school's Gifford Road neighbors have concerns about project
By Jeffrey D. WagnerThe Herald News
Aug 12, 2019 at 2:07 PM Aug 16, 2019 at 7:20 PM
WESTPORT — This week, project officials will determine if the proposed middle-high school building will fall within budget after an Aug. 8 School Building Committee meeting revealed costs were $5 million higher than planned.
It also remains to be seen if construction will begin in the fall and if residents along neighboring Gifford Road will get a reprieve from consistent flooding after heavy rains.
Gifford Road residents Cynthia and Bill Anderson, as well as some of their neighbors, have serious doubts.
The Andersons, citing an independent review released May 30 by Sitec Engineering, say they are skeptical the plans will work.
Although not part of the original plans, the new school building project would include the improvement of water drainage in that area. However, this work would be financed by the town separately from the money approved for the school construction.
For close to 50 years, rainwater from the adjacent Westport Elementary School property has flooded residences along Gifford Road. Officials say the original design was flawed.
Cynthia Anderson has pushed officials for a remedy and has shared photos of her property during heavy rain, showing that parts of her normally dry land resemble a brook.
She said the rain also affects her neighbors' property, noting one neighbor calls the Highway Department after every major storm. She said the neighbor, 80, is reluctant to attend meetings and protest the issue.
Late last year, the Planning Board asked the School Building Committee to fix the issue even though the elementary school is not part of the proposed project.
Planning Board members argued that the problem should be corrected, as the future school and the elementary school will make up one campus on Old County Road.
Town Meeting also authorized the town to move forward with drainage improvement.
School Building Committee engineer Matthew Brassard, of Nitsch Engineering, proposed a method that he said would capture 98% percent of rainfall and send it into the groundwater table, rather than spilling water horizontally onto the Anderson property as well as other Gifford Road properties and the Westport River. Water would also be directed toward the Old County Road area, according to Town Planner James Hartnett at the Aug. 8 meeting.
A Sitec report questioned this system.
"I have significant concerns regarding the effectiveness of the elementary school drainage system due to the over-estimation of recharge rates and the lack of pre-treatment of the runoff," Sitec Civil Engineer Steven Gioiosa wrote May 30. "I also have a greater concern regarding the high school complex due to the change in drainage patterns, increased land disturbance, increased impervious surfaces and lack of runoff controls."
Cynthia Anderson has expressed disappointment that town officials have not discussed this report with her. She also said that some of the property delineations from the town have been inaccurate, a point supported by an independent land surveyor.
The Andersons have refused to sign an easement they say would give the town clearance to stop them from building a shed a few feet from their home. The easement would also give the town authority to place tennis courts near part of the Anderson property overlooking a horse enclosure and some picturesque views.
Cynthia Anderson, giving a tour of her property to The Herald News, pointed to the enclosure and the wall of trees surrounding it. She said the foliage here is beautiful in the fall, but the beauty would be replaced with tennis courts and a light.
She walked to the neighboring property of Westport Free Public Library, noting that a hill near the tennis courts and about 250 trees would be removed.
The Andersons are foster parents who often take in children from the city. They say their property and its rural feel may not be the same as a result of this project.
Cynthia Anderson engaged in a testy exchange June 24 with Select Board members and Town Administrator Timothy King,
Select Board Chairwoman Shana Shufelt and King were reluctant to go into detail with the resident at that meeting, both noting that Cynthia Anderson has threatened to sue the town.
They confirmed that the Select Board sought easements from property owners and that the drainage plans were preliminary.
Last week, Shufelt said selectmen are awaiting project construction to move forward.
"No new developments," Shufelt wrote in an email. "If we do any drainage work it will be in conjunction with other site work on the property so we're waiting for those plans to be finalized."

redpajama_set_name: RedPajamaCommonCrawl


One of Maine's up-and-coming business centers, Biddeford features some of the most diverse geography in the state, with rolling hillside scenery and urban sprawl nestled within a coastal landscape. Biddeford is a mere fifteen miles from Portland, Maine's largest city, and just a couple hours' drive from NYC. This affords residents the ability to enjoy the natural beauty and small-town way of life that Maine is known for without being too isolated from the bustle of larger cities.


text:
Portrait Christian Falsnaes
by Carson Chan
Amidst today's constant tick of openings, galleries and museums often employ performances to lend exhibitions a sense of temporal distinction. It's not an opening like any other: it's an event; you had to be there. At best in these situations, performance is a testament to the fact that art is still best experienced physically, in person. At worst, they relegate performance to the status of side-show – fleeting amusement that invariably gives way to the main attraction. Performance artist Christian Falsnaes (*1980) knows this conundrum well. Born in Copenhagen and trained in Vienna, Falsnaes wins his audience by actively dismantling the performer/spectator binary with group chanting, mock demonstrations, and fist pumping sing-alongs. In this interview, Falsnaes ruminations on the techniques, politics and ethics of breaking down the fourth wall.
Carson Chan: You studied with Peter Kogler, Constanze Ruhm and Daniel Richter at the Academy of Fine Arts in Vienna; none of them are artists who I would associate with performance art. How did you come to focus on performance?
Christian Falsnaes: I started making performances long before I entered the academy. Actually, my way into art was through writing graffiti in the suburbs of Copenhagen. When I got bored of it, I realized that what I liked most about graffiti was its performative aspect – the action, the doing.
You have painted a whole train …
Yes, that's one of my oldest performances. This was in the early 00s, and at the time I made a lot of performance-like actions on the streets.
Did the passersby know they were watching a performance? Important in any performance is the implicit acceptance of spectatorship.
That's a good point; this was not something I was thinking about at the time. The first time I was invited to perform in an art context, I remember thinking about all the new possibilities of art performance. I was reading a lot on media and art performances, its history, the various performance groups and contexts from around the world. I looked at a lot of Paul McCarthy's work. All of this is not so important for me anymore.
_______INSERT_______
You seem to reference history quite a lot in your work. For performances like "Existing Things" (2010), "The Whole Picture" (2011) and "Elixir" (2012), engaging your public, empowering them as participants in the piece and actively changing the way they think about art reminds me of early Futurist strategies. Filippo Marinetti and Umberto Boccioni did things, stunts rather, to elicit strong public reactions. You often have your audience move around the city as a group, holding banners, chanting. Marinetti induced an actual riot in 1910 at the Teatro Rossetti in Trieste, when he challenged the theatregoers' bourgeois mores.
Yes, but the main difference to my work is that they saw their audience kind of like their enemy. They were doing extremely noisy things or throwing things at people. And, like those by the Viennese Actionists that came after them, many Futurist performances centred on negative confrontation with the audience. I try to do the opposite. I'm telling them, "You are the audience, you are powerful, you can do something."
Let's talk about the references to social resistance in your work. You'll get people to march down streets, punch the air, shout slogans; you get them to act out social or political engagement. You draw out the absurdity in both the performance of art and the performance of politics.
I find the language and imagery of public demonstrations very powerful. The emotions they evoke in the demonstrators are also very powerful, but I'm not interested in the agendas. I can imagine that my performances would collapse if they tried to promote specific political or religious ideologies. By engaging people in absurd or nonsensical situations – situations done in their own right and not for the sake of another agenda – they become more aware of the language and imagery of demonstration. This is what I find interesting.
But is it enough to say that you find the tectonics of demonstration interesting? Particularly in the past year, with ideology changing manifestations on Tahrir Square in Cairo, the demonstrations in support of Pussy Riot in Moscow, and the Occupy protests throughout the U.S. … Would you see your performances that call on your audience to partake in mock demonstrations as a critique of these activities?
Of course, there is an element of critique in my works in that they reveal the mechanics of rituals and groups. But I think it would be too narrow to see the work purely as a critique of political demonstrations. I don't make these participatory performances as statements, but I see them as compositions of actions, events, installations, videos.
The recent works seem like compositions for illustrating the potential that exists in the feeling of conviction. When actions happen in an art context, their effects rarely cross over into the general civic sphere in any real way. People from the Occupy movement were invited to take part in this year's Berlin Biennale; they were given full use of the main exhibition space in the main venue. During the press conference, they were full of conviction and purpose, so I was shocked to see them at the opening party drinking champagne with the VIP guests. Performance, whether in real life politics or in the arts, requires an "on/off" dynamic. Your work is a critique in the way that it provides a mirror to the theatre of everyday life.
I definitely think that art has the ability to investigate life in a more thoughtful way. When people are cheering and screaming at a rock concert, they are not thinking about what they are doing, but if you invite them to cheer and scream and chant at an art opening, then suddenly there is another level of reflection. At a rock concert, these actions are ritualized, but at an art opening, even after the long history of performance art, these actions seem absurd. Decontextualizing our rituals makes us question them. This is the critical element.
Tell me about the role of »being normal« in your performances. You often wear your everyday clothes in the performances: slacks and a button-down shirt. The normative is broken by unexpected actions. In "There and Back" (2010), you start sliding around, shouting, on a greased up piece of parquet, and in "Ich Finde die Landschaft Hier Auch Einfach So Geil" (2009), we see you masturbating on top of a mountain. Are your clothes meant to collapse everyday life with performance?
It's quite important for me to wear everyday clothes. I never wait backstage before a performance; I'm hanging around with the audience and then suddenly I just start. There should be a fluid transition into the performance. I want to suggest that everyone could step out of the crowd and direct the situation like me.
Has that happened before?
No. When I started to do these things, around the mid-00s, I was very concerned about how people would react to confrontation, about how far to take things. I'm inviting people to project their fears and inhibitions onto my identity and body. I think I relieve a lot of anxiety when I take the lead and be the front man. No one wants to be the first to do something, but people will naturally participate 100% when they see me putting in 200%. There are moments of uncertainty amongst the audience when I start shouting out of the blue – it's awkward, people are questioning themselves, whether they should follow my instructions. They look around at other people to see if they're following. I put all my energy into this, I don't question the awkwardness, and after a short time people accept the situation. By this point there is almost no resistance.
Sometimes doing something that seems different is not different or new at all. This was evident in "Existing Things". You started the performance by showing video documentation of your past performances and physically re-performing abridged versions of each one. Then you said, "And now for something different," marking a break with your artistic history and declaring that everything to come is going to be completely new. You then asked one audience member, a young woman, to direct as a number of other people lifted you up and used your head as a paintbrush to make a painting. It becomes obvious that this completely new thing, this supposed complete break with a past, is basically a reenactment of Yves Klein's "Anthropometry" body painting performances of the 60s. The most interesting thing in this performance for me was how you relinquished control of the situation, but the woman you gave it to never took advantage of that power. She could have directed people to throw you to the ground, rip your clothes off, pour paint down your throat, but she didn't. The performance exposed a very particular cultural understanding of power, agency, authority and control. We should add that the performance happened in Vienna.
The balance between power, control, freedom and improvisation is very difficult. The more freedom I give to the audience, the more difficult it is for them to act. If I say, "Take this spray can and write this word on the wall," as I did with "Elixir", everybody will do it immediately. If I say, "Here's a spray can," or "Choose a color and paint whatever you want," then people hesitate. If I leave spray cans on the ground and say, "Anybody who wants can go and spray the walls," then nobody will do it. It's difficult to create a context for interaction. I'm constantly trying to create both a frame and the freedom within it.
What is the difference between participation and the illusion of participation? You could have cast the woman in "Existing Things" and asked her to be more transgressive. This might have given the other audience members license to be transgressive themselves. This, I would say, is the political potential of your work; our observations of it could easily be brought into a public or political realm.
Right. You could walk down a street in whichever way you like. You could walk in a zigzag pattern, if you wanted, but we generally walk in a straight line because we're framed by the design and the context of the street. Even though you are acting free, you still perform within a limited structure.
What's revealed is the difference between freedom and choice. If you're given only one choice, but you have the freedom to choose, you're not really choosing. Is it possible to script freedom? Is it possible to script enjoyment and pleasure? I recently spoke at a symposium at the University of Linz, and many people took issue with my assertion that exhibitions, if not art, should be entertaining. We demand other art forms like music, literature and film to be both intellectually stimulating and entertaining, but why don't we require that of art? Performance art though, I think, occupies a position where entertainment wouldn't be seen as something low.
I'm not too worried about approaching taboos like entertainment, where people have to ask themselves if what they are looking at is indeed art. Having said that, it has taken me many years to have people accept what I was doing, precisely because it is entertaining. I have the feeling that many performance artists today deliberately make their performances boring, because they don't want them to be confused with theatre or recreation. I think these are strange things to be afraid of. Entertainment is a very powerful tool.
It's powerful, but it's also dangerous. The danger is that people will view your work purely as a form of amusement and the intellectual engagement doesn't begin. Another danger, of course, is the commodification of performance art as pure entertainment. Last year, Marina Abramović and Jeffrey Deitch hosted a fund-raising dinner at the Museum of Contemporary Art in L.A., where they featured nude models performing Abramović's works as centrepieces on dinner tables. It was crudely exploitative of both the form and the performers.
That's a particularly ugly example, but most institutions habitually use performance art as fun diversions for openings and other events. I'm very aware of not being a sideshow that fills the programming gaps.
You mentioned earlier that you think of your performances almost like musical compositions and that the audience is your artistic material.
Well, for example, with "Rational Animal" (2008), I had sketched out a sequence of events, each made up of a number of objects, video projections, actions. At one point I had thought to hire a group of actors to take part in the work, but then I realized that I had a group of potential actors with the audience. Two years later, when I performed "There and Back" in Malmö, I gave different people in the audience instructions to contribute to the composition. Some had to describe a video they watched, a man had to reel me in with a fishing line, others had to throw pies at my face, and so on. I realized that the interaction between the audience and me was more interesting than the composition I had planned. I began to see the audience as a material I could engage with.
Have you developed specific techniques for directing or manipulating the audience?
No, not at all. I don't have any training, but when I recently spoke to a social psychologist, he thought that I had studied psychological techniques to engage people into action. I've learned from doing. In the end, I'm not interested in controlling how people behave. I'm happy to let situations develop, to leave them unscripted.
Do you talk to people in the audience after the performance?
Yes, I do. Generally, I get a lot of response after the performances. People email me afterwards, too. A lot of people have been really positive about their participation, they feel that it was a strong experience and that it made them think about all sorts of things. Others tell me that they had a good time during the performance, but that they felt used afterwards, particularly after they see themselves performing in the video, behaving in ways they don't usually identify with.
How do you react to these responses?
I want people to feel something, so their response is always a kind of recognition. Positive or negative, a reaction is really good.
Well, then the work could never really fail in regards to audience reaction, right? What would be an illegitimate reaction?
A reaction that would signal a failure would be if someone didn't feel an urge to participate and if they didn't understand why they should have. Even if people don't join into the performance, I want them to be conscious of the choice.
I was in the audience of "Elixir", and your call to participate was clear. After a group of volunteers from the audience had painted on the walls, broke through it, and after you had sung a song, you asked us to spray the word "Elixir" on wooden signs. I was one of the first ones handed a can of spray paint, and I remembered thinking that the reason to participate was for the sake of participation. This goes back to the distinction between choice and freedom, and, as it was somehow unclear at that moment, I felt aggression. I sprayed the words »Fuck you« instead, and afterwards I remember being even more annoyed because whatever I would have done would have been incorporated into your performance. I had no choice in the matter.
Even if you had sat there and refused to react, that would have been your participation, and the camera would have recorded it.
The totalizing world you create in your performances is perhaps its most powerful aspect, for me. Especially when you use the aesthetics of demonstration, protest and politics, it seems to highlight the theatricality of real-world politics. We talked about how the convictions and feelings of agency you bring people are fleeting; they cease the moment the performance stops. But there might be value in scripting feelings in any case. If you're in a bad mood and you artificially pull your face into a smile, you actually feel better. The causality between action and emotion seems to be reversible.
Of course, that's why I start almost every performance by doing some really simple group action, like saying, "Now, okay, everyone say, 'Yeah.' No, I mean, everyone say, 'Yeah!' Come on, 'Yeah!'" Even if I have to repeat it three or four times until everyone says "Yeah!", you have them already – they've emerged as a group. It's the same as forcing yourself to smile. Getting people to shout slogans and to demonstrate, even if it's for some silly reason, has more of an effect than showing them images of other people shouting slogans and demonstrating. Your body tells you that you're creating something, that you're part of a movement, that it's great, and you emerge from the piece changed.
You assume the role of the artist-hero-leader.
A performance always has a hierarchal structure. There is at least one performer, and everyone else is in the audience. At the very least, a performance imposes a duration of time. When we were shooting the music video "Influence" in Salzburg, I directed everyone to run outside onto the grass, because I wanted the performance to end, and everyone would just wander off. When we got out of the building, I really felt that people wanted something else to happen. We all started to give each other high fives, hold hands, people started to hug. Suddenly, I had an image in my mind where I was naked, lying in a big pile of people. I took off my clothes and threw myself into the audience, and they started to carry me around. Someone yelled, "Take him back inside!" When we got in, someone else shouted, "Put him on the stage!" The audience took over. That was the best way to end the performance.
Christian Falsnaes born 1980 in Copenhagen. Lives in Berlin. Website
Represented by PSM, Berlin
Carson Chan is an architecture writer and curator, based in Berlin. He is a frequent contributor to books and magazines, including 032c, where he is editor-at-large, and Kaleidoscope, where he is contributing editor. In 2012, he curated the 4th Marrakech Biennale.
Carson Chan
Constanze Ruhm
Existing Things
The Whole Picture
Filippo Marinetti
Jeffrey Deitch
artist-hero-leader
"Our identity could become an idol that we sculpt anew each morning from the digital clay"
The Downward Spiral: The Figure Cannot Hold
"There and Back", Skånes Konstförening, Malmö 2010
"Training", 2012, HD video in collaboration with Søren Berner & Amos Angeles, 2012
"Influence", Regionale 12, St. Lambrecht, 2012
"Existing Things", COCO, Vienna
"Elixir", PSM, Berlin 2011


This tractate discusses idolatry and erroneous judicial rulings. The ArtScroll Mishnah Series with Yad Avraham commentary brings the text to life as it is developed and clarified by contending minds in the study hall.
Yad Avraham commentary covering the full range of major, and many secondary, commentaries.


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text:
Almost 500 Covid 19 Cases Confirmed In Laois In 7 Days
Saturday, November 6th, 2021 12:00am
The Health Minister is asking people to pull back a bit on their social contacts.
Stephen Donnelly says we're now at a pre-pandemic level of meeting people that's driving a certain amount of cases.
It comes as 3,903 new cases of COVID-19 have been recorded, with 425 people in hospital last night and 76 in ICU.
Over 1,200 people have been diagnosed with the virus in the midlands in the last 7 days.
Laois had the highest number of cases in the region with 480 people testing positive, followed by 425 in Westmeath and 304 in Offaly.
Minister Donnelly says it's vital the unvaccinated to get their jab:


text:
Q: How get category_id by name in cs cart via API? I can not find this in documentation.
Inside this function fn_get_categories, did not find.
Code from Api Categories:
list($data, $params) = fn_get_categories($params, $lang_code);

A: You can find this fn_get_categories function from here /var/www/html/app/functions/fn.catalog.php.(behind the function)

redpajama_set_name: RedPajamaStackExchange