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Fifth-grader makes 'bee'-line to spelling title
Fourth- and fifth-graders worked hard to avoid elimination in the Plymouth-Canton Community Literacy Council's fifth-annual Youth Spelling Bee.
Fifth-grader makes 'bee'-line to spelling title Fourth- and fifth-graders worked hard to avoid elimination in the Plymouth-Canton Community Literacy Council's fifth-annual Youth Spelling Bee. Check out this story on HometownLife.com: https://www.hometownlife.com/story/life/2018/03/07/fifth-grader-makes-bee-line-spelling-title/396868002/
Hometown Life Published 10:44 a.m. ET March 7, 2018 | Updated 10:49 a.m. ET March 7, 2018
Elena Schongalla (left), a fifth-grader from Hulsing Elementary, was the winner, while Suraj Makunur, a fifth-grader from Gallimore Elementary, was the runner-up.(Photo: Courtesy Plymouth-Canton Literary Council)
Excitement ran high at Liberty Middle School as fouth- and fifth-graders from area schools worked hard to avoid elimination Feb. 28 during the Plymouth-Canton Community Literacy Council's fifth annual Youth Spelling Bee.
Elena Schongalla, a Hulsing Elementary School fifth-grader, correctly spelled every word she was given and won the bee. The runner-up was Suraj Makunur, a fifth-grader from Gallimore Elementary School.
All proceeds from the bee benefit programs to promote adult literacy in the area. Founded in 1985, the Community Literacy Council has made a "big difference" in the lives of many families who live and work in the community, according to its executive director.
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Andrea Hug explained the goal of CLC is to "assist adults who have limited English language abilities in developing vital reading, writing and communication skills" to help them participate in their community and reach their potential in life.
Plymouth-Canton Literacy Council President Debbie Cortellini congratulates spelling bee winner Elena Schongalla. (Photo: Courtesy Plymouth-Canton Literacy Council)
CLC strives to help overcome language barriers by offering free literacy tutoring to adults via one-on-one instruction or small conversation groups. A large number of CLC students speak English as a second language. Tutoring sessions can help students communicate with their child's teacher, talk to their doctor or simply order from a menu at a restaurant.
"The efforts of the CLC tutors have a lasting impact on the students and the community," Hug said. "Many students secure better employment or become active in their children's schools or other civic organizations. Often, students develop lasting friendships with their tutors."
CLC services are free. Tutors receive comprehensive tutor training that enables them to provide the gift of literacy one word at a time.
For more information, go to www.plymouthcantonliteracy.org.
Read or Share this story: https://www.hometownlife.com/story/life/2018/03/07/fifth-grader-makes-bee-line-spelling-title/396868002/
'America's Got Talent' auditions coming to Novi this Tuesday
You can help library win grant to digitize old newspapers
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After ups and downs, South Lyon woman loses 135 pounds
Asian fusion takeout restaurant opens in Canton
EMU hosts hundreds of P-C middle-schoolers


For those of you far and away from our "Brick and Mortar" shop in Virginia, we offer up the PONSHOP Online Store hosted by our friends at RedBubble.com. Here you can get fine art prints, clothing, iPhone, iPad, and iPod cases and more – all with original designs by PONSHOP.
Select from over a dozen Original T-Shirt Designs by Gabriel Pons. Choose a graphic, specify a shirt color and size and it arrives at your doorstep. All graphics are garment printed on American Apparel Clothing for the ultimate in comfort and style.
If you're looking for unique gifts for family and friends, give the gift of art. Browse through the PONSHOP Painting Portfolio and order art prints ranging in size from a greeting card to a large format poster.
We also feature a selection of our original artwork on the PONSHOP Etsy site. Here you can find some of Scarlett's signature ceramic items including her Ceramic Sponge Holders, Letter Pendants, and Bowls. Gabe's spray painted vinyl records and shop tees are also on Etsy.


St Mary's Basilica is located in downtown Phoenix on Monroe and 3rd Street. It's formal name is The Church of the Immaculate Conception of the Blessed Virgin Mary. The church has a rich history, dating back to 1880 where it began as an adobe building with a steeple pitched, shingled roof. The church, as it's recognized today, was built starting with a basement church in 1903 and then the Mission Revival style it's recognized by now was built in 1913. It is the oldest Catholic church in Phoenix and second oldest church overall, with First Presbyterian Church being the oldest. (See more at http://saintmarysbasilica.org/basilica-history/).
This relatively small work has just the right amount of detail and color. I love the way the shadows are cast on this tower of St Mary's Basilica, where the nearly white building is offset by our bright blue Arizona skies.
Originals and prints from the Architecture Series can be purchased at https://www.etsy.com/shop/EBeLerFineArt. Don't see something you'd like? Send me a message. It just might be available!
Custom architecture artworks make thoughtful and beautiful gifts. Give your wife the gift of a painting of the church you were married in. Have a home portrait in pen and ink completed as a house warming gift. Spoil yourself with an artwork from your favorite vacation spot! Contact me for details.
© 2019 Esther BeLer Wodrich. | Images may not be used, downloaded, sold, redistributed, altered, or printed without permission.


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Beautiful Brick Tudor Townhouse. Excellent Condition With Updated Kitchen And Bathrooms. Hardwood Floor Throughout. Ductless Split A/C. Finished Basement. 4 Bedrooms, 2 Full Baths, Det. Garage. Very Good School District. Minutes Away From The R,M Train Station And Shopping Centers. Must See!!!
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August | 2011 | Lunar Camel Co.
I hope you are carrying on a fantastic interzone love affair with someone from Zone A in your Zone C apartment, or are enjoying however you are doing things. We went for a walk this morning and there was a guy playing the saxophone in Marcus Garvey Park in lieu of this weekend's Charlie Parker Jazz Festival.
Before the walk we had breakfast at Cafe Latte. It was very grey outside but it wasn't raining. The restaurant was full, a mixture of local people and stranded Europeans.
After breakfast we went to 116th St. to buy bio coffee from these people but they weren't open. We saw Marcus Samuelsson walking south on Frederick Douglass Blvd. as we headed back uptown to 125th St., maybe he was thinking about stocking up on bio coffee too. Bio coffee is coffee with wheatgrass in it. It probably sounds repulsive but it tastes good. It's an instant coffee that has milk and sugar already in it, like instant coffee that you might get if you are travelling somewhere where people do not really drink coffee. Meaning they do not drink real coffee, but it's not unenjoyable, the stuff they drink instead. I guess I've had coffee like it in Kathmandu or someplace in northeastern India. Here is the rest of the Food For Life Supreme menu, for the curious. I have been there a couple times now for bio coffee and carrot fries and I still don't know what moon sauce is.
Mr. T was watching over 125th St.
There were large tree branches down in Marcus Garvey Park and a sign by the entrance saying the park was closed, but we went up the steps to the top of the hill. On our way up we encountered someone's DVD, perhaps having been snatched from their grasp by the hurricane.
I took some video of a windy moment at the top of the hill in the park.
Jean Painlevé photo from Wikipedia.
Short works, almost exclusively documentaries devoted to natural history, his films were neither strictly intended as popular novelties nor as celluloid jargon for academic peers. This fragile balance of tone and method, so enchanting to an awestruck contemporary viewer, provides the clearest precedent for the work of an Anglophone documentarist like David Attenborough; Painlevé gives a fabulist's account of the enchanted marginalia of animal life and behaviour.
Enchanted marginalia is exactly what I am perpetually on the lookout for. It doesn't come off if the auteur holding up the frame around their chosen subject — the love life of octopuses, for example — has a cynical view of their audience, and unfortunately in my opinion most people who make films do. To maintain the fragile balance that Knox refers to requires something finer and stranger than empathy with one's audience; it requires a sense that somewhere out there are people, some people at least, who will intuitively understand what is hilarious and touching about a crustacean waggling its antennae to plink-plonk music.
Here are excerpts from Amours de la pieuvre (Love life of the octopus) (1965), from The Criterion Collection's DVD Science is Fiction: The Films of Jean Painlevé.
If the video won't play you can watch it here.
And here is an earlier one, Crabes et Crevettes, part I, 1929.
If you'd like to read more about Painlevé I recommend the Electric Sheep review of Science is Fiction here, and the Scott Macdonald essay here.


All four major banks have hiked rates independently of the RBA. Which other lenders have followed suit?
Early this month, NAB became the final major bank to lift interest rates out-of-cycle with the Reserve Bank of Australia. After holding the line on rates in contrast to its major bank rivals, the bank announced it would hike its base variable rate by 0.18% for new customers.
NAB and the other three majors haven't been alone in their decision to move out of step with the RBA. Last month, 20 lenders in the Finder database chose to change rates, despite the RBA leaving the official cash rate untouched.
Clearly, inaction by the RBA no longer translates to a steady period for home loan interest rates. You can keep track of all of November's out-of-cycle rate changes in the table below. If your lender is one of those that chooses to lift rates, it could be time to refinance to a better deal.


There is one Credit Union location in Stanton Kentucky. That location is a branch office of the Partners 1st Credit Union. If you haven't found what you're looking for you can find all of the Credit Unions In Kentucky here.


Less than 24 hours later, I was answering my phone. A very kind gentleman told me that he is the CFO for the current PRTF. I lost my breath, quickly said, "ok, God, help me out again!" and said, "Excuse me, let me find somewhere a bit quieter." I ran to the bathroom, dared the kids to join me, and said, "Ok, sorry about that." He quickly related that he also had small children (though I have to wonder how often the CFO of a company sits on the toilet to take life changing phone calls).
He continued to tell me that he needed some more information to determine the amount of money they were looking at both being paid by insurance and at losing by waiving or reducing any out of pocket costs to us. I gave him every piece of information I had. I would have given him my blood type and a piece of my sunflower toast with real butter. (Those of you who really know me, know that I don't share my real butter with just anyone. Some things are sacred! lol) I would have shared with him, though. I mean, he was now holding the future of our son in his hands.
He said he had to make a phone call or two and he would return my call soon. I explained that I had a 1pm phone call with the current insurance company and I would love to hear back from him then if at all possible (nothing like pushing the one who is making such a huge decision, right?). He told me (and he did) call me back within 10 minutes.
Him: Mrs. Mama Who Doesn't Stop?
Me: (OMGosh this could really work out!) Yes, Sir?
Him: I talked to your private insurance company and they said it covers x percentage, but the good news is that you have almost met your annual out of pocket. They said that we should be able to do the entire process without ever having to discharge your amazing (ok, that's my word) son.
Me: Oh wow, that's awesome. My husband just called too, they said that there is a 30 day window when they are working to authorize the precert, but that they would possibly pay back to day 1.
Him: Yes, we do that a lot. Either way, it doesn't matter. We will waive all of your out of pocket cost. I need you to get the insurance changed over as quickly as possible so we can get this moving and ensure he stays here.
Me: OH MY GOSH!? Are you serious? Let me make sure I have understood you correctly. YOU, Mr. Most Amazing CFO in the ENTIRE world, are agreeing to waive all of our out of pocket costs?
Him: Yes, ma'am, you heard me correctly.
Me: Where is your office? Could I come by on Monday and give you a hug? Ok, really I don't have to hug you, but I would LOVE to shake your hand and express just how much this means to me!
We talked for a few more minutes and he agreed to meet us at the campus where our amazing son is on Monday just before our family therapy. I am so excited! I feel like I'm going on a date. I mean, I have already picked out my outfit and thought about buying jewelry (those that know me well also know that I could care less about jewelry). Even my wonderful husband is dressing up for this meeting.
How do I adequately thank this man and his colleague, Mr. Amazing CEO? What kind of gift do I take to the man who, with a push from God, single handedly ensured that my son continues to receive the best possible care I can imagine? I mean, if I had all the money in the world, the Easter Bunny would be GOOD to this man! Oh wait, if I had all the money in the world this man wouldn't have had to move mountains.
Whatever the case may be, whatever the gift or the words of gratitude that I will never be able to adequately and eloquently express, I am forever grateful to the CEO and CFO of this facility. They chose to allow my amazing little boy to stay, they allowed him to continue to receive the level of care he is receiving now, they chose to do all of this at a significant financial loss. They chose to do this rather than filling the bed with someone who could provide all of the necessary funding. There are no words that can ever express just what their kindness means to me. I feel that their decision was the real difference between lifelong success and failure to succeed at all.
I have no idea if this was the beginning, middle, or end of a trial. I have no idea what God's plans are, however, I have persevered. I have continued until I found the level of care that I feel my son is entitled to, and I was blessed. Actually, my amazing son was blessed. We have received the crown of life that God promises. The crown of life that Jesus wore so many years ago so that we could lean on God in times of trouble like we have experienced lately. Without God's power, I have no doubt I would still be looking for my son's next placement.
I hit my knees and praised God. He moved today and he moved the hearts and decision making of two very important people in the company. God moved for my son!
Simply Speechless. And you know I am never speechless.
I AM SO HAPPY FOR YOU!!!!!!!!!! You Rock!!!
Thank you, Dawn! I know without a shadow of a doubt that you would do the same for your sweet boy.
Oh Lena, what a blessing! I guess sometimes mountains can be moved!
Best possible gift…a link to this blog!
I am very happy for you and your family, but most of all for your son!
I am so glad you have found some, or several someones and a corporation, that is putting what is best for the child ahead of what is best for the pocketbook. WTG Mom!!
Thank you all so much for your continued support. I have quite possibly the best cheer section on the internet. I am so blessed to count each of you as friends!


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Sony introduces new colours for the PlayStation 3
By Stephen Fenech	 On Feb 6, 2013
Sony Computer Entertainment Australia has introduced two new colours to the PlayStation 3 – Azurite Blue and Garnet Red – to add a bit of colour to your gaming.
The new colourful consoles will be available on February 21 and will have the smaller and slimmer form PS3 factor which was unveiled in September last year.
Each system will include two controllers and will be available from select retailers for a limited time.
The release date of the Azurite Blue and Garnet Red PlayStation 3 consoles comes a day after a scheduled Sony event set down for February 20 which many are anticipating to be the unveiling of the PlayStation 4 system.
The PlayStation 3 high definition gaming platform has been around since 2006 and sold more than 70 million units worldwide.
The PS3, apart from being a gaming console, is also an entertainment hub with the ability to play 2D and 3D Blu-ray Disc movies as well as access movies, music and games through Sony's portals.
Sony likely to unveil PlayStation 4 on February 20
PlayStation 3 exceeds 70 million sales worldwide
Sony reveals new re-designed PlayStation 3
Sony to release limited edition red PlayStation 3
Enter Tech Guide's new competition to win a PlayStation 3 for Christmas
Sony slashes price of PlayStation 3
PlayStation Network comes back online
PS3 console available in white from November 1
Dare Gallery's augmented reality app can visualise furniture in your home
Retro Tivoli Audio Model One AM/FM now has Bluetooth onboard

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Zbigniew Milewski – polski inżynier, konstruktor jachtów
 Zbigniew Milewski – polski poeta

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Below you'll find a list of all posts that have been tagged as "american folk art museum"
Genius at work and on view in Queens
Editorial Staff November 3, 2017 Art
AFAM's Self-Taught Genius Gallery opened on September 26 in LIC with an exhibition of some fifty-five works culled from the museum's huge Self-Taught Genius: Treasures from the American Folk Art Museum exhibition that toured the country, appearing in seven venues over three-and-a-half years.
american folk art museumlong island cityNew Yorkqueensself taught genius gallery
A stitch in wartime
Editorial Staff September 11, 2017 Exhibitions
The American Folk Art Museum presents a fascinating collection of quilts made by men at arms.
american folk art museumAmerican Folk Art Museum in New York Citymilitary quiltsquiltmakingquiltswartime quilts
Kent Mitchell Minturn March 29, 2017 Art
The strange, protean artistry of Eugen Gabritschevsky.
american folk art museumArt BrutCollection de l'Art BrutEugen GabritschevskyNew York.Outsider Art
An art brut debut at the American Folk Art Museum
Editorial Staff March 21, 2017 Art, Exhibitions
Zinelli painted for up to eight hours a day, producing nearly nineteen-hundred works of art.
american folk art museumArt BrutCarlo ZinelliCurrent and Comingfolk artNew YorkOutsider Art
Art Brut in New York
Editorial Staff November 13, 2015 Art, Exhibitions
Although the American Folk Art Museum's exhibition space has contracted since it moved to 2 Lincoln Square from the now-demolished Tod Williams and Billie Tsien building on West Fifty-Third Street, it continues to expand thematically. Following its recent exhibition of self-taught performance artists, When the Curtain Never Comes Down, which stretched from Japan to Brazil, the museum is now mounting …
american folk art museumCurrent and ComingJean Debuffet
Disturbers of the Peace
Editorial Staff July 28, 2015 Exhibitions, Magazine
Arthur Bispo do Rosário at the Colônia Juliano Moreira, photograph by Walter Firmo, 1985. Private collection; © Walter Firmo, image courtesy Livre Galeria. One sign of an important exhibition may be its ability to move us into unfamiliar territory. By that measure, as by others, the recent show at the American Folk Art Museum, When the Curtain Never Comes Down, …
american folk art museumArthur Bispo Do RosarioBill AnhangDeborah BergerEijiro MiyamaLonnie HolleyOutsider Art
For the love of architecture
Editorial Staff October 9, 2013 Opinion
Call it cultural vandalism: The case against the Museum of Modern Art's plan to raze the former building of the American Folk Art Museum designed by Tod Williams and Billie Tsien and completed in 2001. "Tod Williams and Billie Tsien's new American Folk Art Museum…is not only New York's greatest museum since Frank Lloyd Wright's Guggenheim was completed in 1959, …
american folk art museumarchitectureMoMAMuseum of Modern ArtPreservation
Pas Banal: A collection of folk, self-taught, and outsider art
Editorial Staff July 16, 2013 Art
from The Magazine ANTIQUES, July/August 2013. They met again on a Manhattan bus years after they first knew each other from the Chapin School, where their children were friends. Between them they have five daughters, the youngest then still in college. By 2010 Edward Vermont Blanchard Jr., a financier who serves as president of the American Folk Art Museum board, …
american folk art museumEdward Vermont Blanchard Jr.Laura BeachLeslie TcheyanOutsider ArtPas Banal


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High Court orders immediate release of Tandoor murder case convict Sushil Kumar Sharma
WION Web Team New Delhi, Delhi, India Dec 21, 2018, 04.31 PM(IST)
Tandoor murder convict Sushil Kumar Sharma. Photograph:( DNA )
The former youth Congress leader killed his wife in 1995 after accusing her of indulging in an affair. He then allegedly cut her body into pieces and tried to burn it in a tandoor.
The Delhi High Court on Friday ordered the immediate release of Sushil Kumar Sharma who was convicted in the 1995 Tandoor Murder case.
Sharma was sentenced to death by a lower court in 2003. His death sentence was upheld by the Delhi High Court in 2007.
In 2013 the sentence was relegated due to lack of evidence. The apex court had said that there was no evidence to prove that Sushil had chopped his wife's body into pieces and burnt it in a tandoor.
A Bench of Justices Siddharth Mridul and Sangita Dhingra Sehgal allowed the plea filed by Sharma seeking his release.
Delhi High Court orders the immediate release of 1995 Tandoor murder case convict Sushil Sharma. pic.twitter.com/byJYWRe1tv
— ANI (@ANI) December 21, 2018
Sharma who sought release from the jail cited his conduct and added that his death sentence was commuted by the Supreme Court because of lack of evidence.
His lawyer Amit Sahni had asked the court for the release and said Sharma was in the prison since 1995 and has already served the maximum prescribed sentence.
25 smart schools ready to offer students the best: District Magistrate Srinagar
Delhi election: Arvind Kejriwal promises to end civic woes in manifesto
2838 Pakistanis, 914 Afghans, 172 Bangladeshis given Indian citizenship in last 6 years, says Nirmala Sitharaman


Do you know how to cook more than five dishes, but end up making the same three or four recipes on a regular basis? If your answer is yes, you're not alone. Many of us know how to cook much more than the tuna casserole we prepare every other Tuesday. The same is true for training delivery techniques: Whether we've been in the industry for a month, a year, or a decade, we have a pantry filled with different delivery activities, but we tend to stick with our same old go-to activities.
If you are a talent development professional looking to spice up your training delivery techniques, an instructional designer looking for intriguing flavors to add zest to programs, or simply have an appetite for learning about the newest trends in training delivery, come to this session. Wendy reached out to talent development leaders across the country and gathered their secret ingredients for spicing up face-to-face, virtual, and asynchronous training delivery.
Version 2.0: Wendy first cooked up this program in 2016, but in the last few years, she's gathered tons of 'recipes' from master chefs around the world. She promises to spice up this meal with some of the yummiest recipes she's found!
Evaluate the delivery techniques for their potential to elevate your own training programs.
Identify at least one 'dish' (delivery technique) to implement by adding it to an upcoming training program.
Create at least one new 'dish' (delivery technique) by modifying one of the dishes presented during the event.
Wendy Gates Corbett, CPLP, has designed and delivered more than 1,700 presentations in her 20+ years in the field. She works with professional athletes, speakers, and leaders to deliver memorable messages with engaging, visual presentation slides. Wendy speaks at companies, campuses, and conferences around the world on the power of visual messaging and the power of belonging. She's the author of a TD at Work and a co-author of several training-related books. She's been a member of ATD-RTA for 21 years. After completing a 3-year term as a National Advisor for Chapters and a 2-year term on ATD's international board of directors, she's returned for her 10th year serving on the local chapter board.


What exactly is the mission of a medical school? Is it to train the best and smartest doctors? Is to tend to our nation's health? Is it to further medical knowledge?
Go to the website of just about any medical school and you will see roughly the same "three-pillars" message from the dean, or the chairman, or the residency program director. Every medical school stresses their commitment to the triumvirate of education, research, and patient-care.
An interesting analysis of the "social mission" of medical schools comes in . The researchers created their own three-pronged metric that measures three areas that are currently lagging in medicine: physicians working in primary care, physicians working in medically underserved regions, and physicians from minority groups.
They ranked all 141 American medical schools, and though there wasn't space to list all 141 in the article, they did print the top 20 and the bottom 20. Having been a cut-throat medical student once myself, I immediately scanned the scores. I was crushed to find my institution nestled in the bottom 20 (oh, failure!), though we were in excellent company.
Community-based medical schools and public medical schools were prominent in the top 20. The bottom 20 was a whose-who of big-name, big-research institutions (the ones that usually topped the US News & World Report Hospital rankings).
These results were not surprising, but it still stung to find my alma mater prominently posted at the bottom of the list. One of the reasons I'd chosen my medical school—and stayed for residency training, and have continued on as a faculty member—is that the bulk of the medical training is done in an inner-city hospital.
The faculty who work full-time in primary care at our city hospital like to think that we act as role models to our students, that "walking the walk" speaks loudly enough. But apparently not. Only a quarter of our students chose to enter primary care (general internal medicine, family medicine, and pediatrics) in the years covered by the study.
The accompanying editorial pointed out that there are many factors that medical schools cannot influence. Medical schools can do little, for example, about the fact that primary care medicine is packed with aggravation, with lower financial rewards. For many medical students, taking the ROAD—radiology, ophthalmology, anesthesiology, dermatology—is mighty appealing. Excellent pay, less hassle, more control.
And of course there are some specialty fields that actually do provide primary medical care, particularly OB-GYN, which weren't included in the study's definition of primary care.
Despite its limitations, though, the study is a wake-up call to medical educators, medical students, practicing physicians and society in general. While this "social mission" isn't the only mission of medical schools, it is an important one. Of course we want high-end research to continue in medical schools. Of course we want cutting-edge specialty care to proliferate. But medicine is unique in that it possesses a social mission and it's clear that as a profession we are falling behind in this area.
The good news is that most medical students are cognizant of this. When I work with students it's clear that the social mission of medicine has meaning for them. It's more than just lip service or application-essay material. I truly think that the majority of medical students come to this field for the right reasons. The challenge for medical educators is keep that flame alive.
We certainly need to emphasize primary care, since our nation desperately needs legions of more primary-care doctors. There is no need to denigrate specialists, however, because they are also critical to good medical care. But we can emphasize the need for specialists to contribute to the social mission. For those who are not working in underserved areas (which is the majority), medical schools can stress the ethical obligation to providing some care pro bono, or to the uninsured and underinsured patients who have the hardest time getting specialty care.
There are many who may quibble about this study, who may say that the "social mission" of medicine is a professional state of mind, not a calculus of minority physicians who do primary care in rural areas. And there is truth to that: many white, male, Ivy-League cardiologists are extremely ethical, humanitarian, and generous.
Should Med Schools Be Renamed for Donors?


The arrest of an engineer at Apple shows how those engaged in industrial espionage will update their tradecraft in response to new company safeguards.
Chinese ambitions in low-Earth orbit and beyond have generated talk of a Space Race 2.0, but don't expect a repeat of the old Cold War competition between the United States and Soviet Union.
Russian Defense Minister Sergei Shoigu traveled to China on Oct. 18 to meet the deputy chief of China's Central Military Council, Zhang Youxia, before the two officials chair the 23rd meeting of the joint inter-governmental commission for military-technical cooperation on Oct. 19, Russian state-run news service TASS reported.
What happens when governments refuse to function? The final decades of China's Ming dynasty offer a historical analogy.
Russian Prime Minister Dmitry Medvedev will participate in a regular bilateral meeting with Chinese Premier Li Keqiang on Nov. 1, BBC Monitoring reported.
The country's new strategy will take some getting used to after centuries spent in the service of a largely self-contained geopolitical theory. But its perils and imperatives will be familiar to the Middle Kingdom.
As the Communist Party prepares for an extensive leadership change, President Xi Jinping continues to strengthen his hold on the country's military.
Stratfor's weekly intelligence digest explores key events from the previous seven days and looks ahead to what matters in the coming period.
In an effort to put additional pressure on North Korea and its expanding missile programs, the Cabinet Office of Japan has approved new sanctions on four Chinese companies, two Namibian firms and one individual each from China and North Korea, Japan Times reported Aug. 25.
Stratfor Latin America Analyst Reggie Thompson joins the podcast to offer some context on exactly how things are changing in Venezuela and what that country's future looks like.
Stratfor Senior Asia-Pacific Analyst Zhixing Zhang discusses China's ambitious, 65-nation project.
This is an internal Stratfor document listing significant meetings and events for the next week.
Next week, the United Kingdom will trigger Article 50 of the Treaty of Lisbon to start the Brexit process.
U.S.-Russia relations have swung back to their default, tense setting -- at least for now.
The fight for ownership of the powerful gene-editing technique known as CRISPR-Cas9 is over, at least for now. The victor in the patent case, however, is less important than the fact that policy continues to lag behind scientific progress.
Zhixing Zhang focuses on political, security and economic issues pertaining to China and Southeast Asia. Her areas of focus include China's foreign policy and socio-political development, maritime conflicts in the South and East China seas, and political and economic development in Southeast Asia.
Ms. Zhang is a native of China. She graduated from China's Peking University, with a major in political science. She received her first master's degree from Renmin University of China, and her second master's in public policy under full fellowship from the University of Texas at Austin. Ms. Zhang is fluent in Mandarin and English.
Pro-democracy activists in Hong Kong protested the arrival of Zhang Dejiang, a powerful Beijing official, on May 18, Quartz reported.
Saudi Arabia reshuffled key ministries as part of its preparations for economic reform.
Leaders who oppose Beijing's structural policies may risk being removed from their posts.
Beijing's investigation into corruption in Hebei province could be the forerunner of a more focused campaign against provincial political leaders who oppose its structural policies.


Fishing Monthly Magazines : On the cusp of spring glory "
I am pleased to say that over the past month we have received quite a lot of welcome rain and some heavy dumps of late snow.
Although we are delighted to receive this precipitation onto what was a parched landscape, it has basically put a halt to our trout fishing.
All the major rivers around Omeo and Dargo are running a banker with cold and mostly discoloured water.
It is interesting to me to see the Morass Creek. Back in May I walked across this creek without getting my feet wet; it was bone dry. Now it is full of water and running hard. This is a great little water for the bait angler to try. It is always discoloured, even in the middle of summer, but it holds the biggest trout of any river in the area. Every year trout of 5lb and above are caught here.
Due to its yellow colour it is most successfully fished with bait. Scrub worms are the bait of choice for most anglers. Even though the creek was dry and devoid of trout recently, it will soon re-stock with fish moving up from Dartmouth Dam.
Livingston Creek is running high like most other rivers but it is still yielding a few browns up to 500g, mostly to bait anglers although Dudley Lee caught a nice fish of about 550g on a fly recently.
The best spots to fish the Livingston are at Cassilis and also a few areas in the Hinnomunjie Valley.
Very little fishing is being done in the Mitta, Bundara and Cobungra Rivers. A few rainbows are being caught in the Gibbo River when conditions allow. The Timbarra River is worth a fish at the moment. Spring is the best time to fish this water, as it gets quite hot by Christmas and the fishing declines with the hot weather.
Most of the fish are small brown trout in the Timbarra but there is quite a good population of self sustaining fish present.
It is pleasing to see day light savings start and the days are gradually getting longer and warmer. Once this spate of cold weather passes we can look forward to some life getting back into the rivers. Pretty soon the beetles, other terrestrials, caddis, mayflies etc will start appearing and with them, hopefully, the trout.
Geoff Johnston with a rainbow trout caught in the Gibbo River.


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A chatbot won't solve all your problems
Issued by: Praekelt
South African brands love a chatbot, don't they? It's not hard to see why. On the face of it, it's a machine that can talk to millions of customers on your behalf without the need for human intervention. It's a convenient, cheap, and cheerful way to solve everything. Right?
Not quite. We've got bots to the left of us, intelligent assistants to the right, and here we are – stuck in the middle with a bold statement:
A chatbot won't solve all your problems.
Too often, a well-meaning suit commissions a chatot and expects it to solve every customer query and cut their call centre numbers in half. But that's not what chatbots are about. They're about lightening the load of overworked humans and freeing them up for tasks that require the human touch. They're about directing traffic and taking care of simple, automatable tasks.
If you're thinking about getting a chatbot for your business, here are some things to consider:
Find a focus
If you expect your chatbot to be a jack of all trades and a fixer of all problems, the chances are that it's going to be the master and the solver of none. You wouldn't buy a robotic vacuum cleaner and expect it to clean the windows, so you can't expect a chatbot to conduct a medical exam or sign a cellphone contract.
A company like MTN understands that, which is why they've focused their chatbot for something more appropriate like internal company communication. DStv uses their chatbot for self-service to stunning effect; Game uses theirs to help people find stores; and Makro has cleverly digitised those pesky store cards that everyone keeps losing.
These brands have found their focus, picked their lanes and some of these chatbots are helping over a million users every single month.
The Covid-19 chatbot that saved lives
Issued by Praekelt 3 Aug 2020
Mind your language
Contrary to an oddly popular belief shared around the boardroom tables of South Africa, most of our population does not speak English as a first language. So first prize is to build a bot in the home language of your typical user or give them the option of all 11.
But if English is a common denominator among many tongues – which it sometimes is – use it wisely. Make sure it's comfortable for a second-language speaker to engage with, rather than let them struggle to decipher the Queen's English.
Remember that the exec at head office and the customer in the shop speak different languages. We have 11 of them after all. Embrace it, design for it, build for it.
Take the time to understand
People can't spell. It's a tale as old as language and time itself. You'd think autocorrect would help, but it can often be more of a hindrance. A failure to account for that results in a fundamental flaw of the average chatbot – relying on a user to say the right thing or ask the right question in the right format. That almost never happens.
Sure, you could go with the old number system where you type '1' for the front desk, but then you don't have a chatbot, you have a glorified USSD menu and you might as well tell your users to dial star-whatever-hash and engage in a panic-stricken exchange with timeouts and never-ending menus.
Natural language understanding (NLU) allows chatbots to understand the intent behind what users are saying so they can respond appropriately. So if someone needs jelp or they need to hind a store, the bot can figure out their intention and send the correct response.
If done properly, this can eliminate the need for a menu altogether.
Put the human first
Before you can even begin to think about the bot, you need to consider the human it's helping. Who they are, what they do, what they click and when they click it. If you don't know the person you're helping, you're not going to help them at all.
The key is to understand their problems, their pain points, their gripes and their grudges – once you know those things, it's easier to pinpoint how a chatbot can help them. It's about making a connection between a brand and a being, finding that sweet spot between what they need and what you need.
Think customer experience
Ultimately, the point is that a chatbot is not going to solve all your problems, but it can solve some. Conversational customer experience is not just about chat, it's about finding the right place for it in a brand ecosystem.
Do it the right way, in the right language, with the right technology and who knows, maybe you could reach a million users too.
Human-first, AI-powered, conversational customer experience.
www.praekelt.com/feersum
hello@praekelt.com
A chatbot won't solve all your problems 19 Jul 2021
Praekelt joins Frontify in the new age of branding 3 Mar 2021
Free legal help for South Africans 19 Oct 2020
The Covid-19 chatbot that saved lives 3 Aug 2020
Absa Life launches a bot that helps both customers and employees 1 Jul 2020
Praekelt
We use tech and service design to make digital things that connect real people. www.praekelt.com
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Заречье — посёлок в Кинельском районе Самарской области России. Входит в состав сельского поселения Новый Сарбай.

География
Посёлок находится в центральной части Самарской области, в пределах Высокого Заволжья, в степной зоне, на левом берегу реки Сарбай, на расстоянии примерно 26 километров (по прямой) к северо-востоку от Кинеля, административного центра района. Абсолютная высота — 37 метров над уровнем моря.
Климат
Климат характеризуется как умеренно континентальный, с холодной малоснежной зимой и жарким сухим летом. Среднегодовая температура воздуха — 3,8 °С. Средняя температура воздуха самого тёплого месяца (июля) — 28,4 °C (абсолютный максимум — 40 °C); самого холодного (января) — −14 °C (абсолютный минимум — −40 °C). Среднегодовое количество атмосферных осадков составляет 470 мм, из которых 290 мм выпадает в период с июня по октябрь. Снежный покров держится в течение 140—150 дней.
Часовой пояс

Население

 Половой состав
По данным Всероссийской переписи населения 2010 года в гендерной структуре населения мужчины составляли 46,4 %, женщины — соответственно 53,6 %.
 Национальный состав
Согласно результатам переписи 2002 года, в национальной структуре населения русские составляли 100 % из 3 чел.

Примечания

Населённые пункты Кинельского района


Short Restaurant Description: eals Ice Cream begins with our own formula and the finest ingredients and then we hand craft small batches of over 100 different recipes to bring you a super-premium product that is creamy, delicious and unique!
You will find flavors like Teaberry, German Fudge cake and Salted Caramel right alongside of the ever popular Coffee Oreo, Cookies and Cream and Coconut Almond Bar!
Beal's Famous Old Fashioned Ice Cream offers super premium ice cream, frozen yogurt, sugar free ice cream, and sorbet that we hand-craft into small batches in a wide variety of flavors. We have many products available ie; ice cream cakes, pies, pizzas, logs, cookie monsters, pie by the slice, homemade swiss cones, seasonal flavors, pints, quarts, half gallons, and much more!


This page was viewed 19544 times.
Konya is one of the biggest provinces of Turkey in terms of population size. According to the results of the Address-Based Population Registration System (ABPRS) for 2018, Konya has a population of 2.205.609, constituting 2,7 % of Turkey, ranking 7th among the provinces. Konya has a population density of 57 persons per km2.
The most populous districts of Konya are Selçuklu, Meram and Karatay, which constitute the metropolitan area. Akşehir, Beyşehir, Cihanbeyli, Çumra, Ereğli, Ilgın, Kulu and Seydişehir are other major districts of Konya, outside of the metropolitan area with a population over than 50.000.
When it is compared according to 2017, in 2018 population decreased in Cihanbeyli, Seydişehir, Ilgın, Doğanhisar, Meram, Akşehir, Akören while increased in other districts.
Selçuklu, Meram, Akşehir and Karatay has higher population density according to other districts.
Population under 35 constitutes 56% of Konya's population, totalling 1.226.404 people.
Examining Konya's population, people between the ages of 15-64 constitutes 67% of the population. 24% of Konya is between the ages of 0-14 and 9% is over the age of 65.
Konya shows similar distribution of population regarding age structure. 68% Turkey's population is between the ages of 15-64. The numbers are 23% for people between 0-14 and 9% for people over 65.
Konya with a population of over 2 million, has more than 50 countries around the world. Among these countries, Slovenia,Estonia, Luxembourg, Malta, such as the European Union member countries as well as the European countries Iceland, Montenegro, Andorra, Liechtenstein, Monaco, San Marino and Vatican and countries such as Qatar, Gabon, Gambia, Bahrain, Bhutan, Suriname. Brunei and Belize are located.


Government has introduced legislation that sets the stage for the elimination of Medical Services Plan (MSP) premiums on Jan. 1, 2020, making life more affordable for British Columbians.
MSP is the provincial health insurance program that eligible B.C. residents enrol in to receive provincially insured health-care benefits. British Columbia is the only Canadian jurisdiction to still charge a monthly health-care premium.
The medicare protection amendment act, 2019, removes the sections related to MSP premiums and premium assistance from the Medicare Protection Act, ensuring that MSP beneficiaries are not required to pay any new premiums for enrolment periods after Jan. 1, 2020.
This legislation also amends provisions that give power to the Medical Services Commission, the nine-member board that manages MSP on behalf of the provincial government. The changes mean the commission will no longer set and collect premiums for enrolment periods after Jan. 1, 2020, but will continue with its other MSP responsibilities, including enrolling eligible residents in MSP and collecting unpaid premiums from previous billing cycles.
Government took the first step towards MSP premium elimination with a 50% cut in MSP premiums announced as a part of Budget 2017 Update.
Although MSP premiums are being eliminated, the MSP program will continue to provide eligible B.C. residents with provincially insured health-care benefits.
B.C. residents must continue to fulfil their MSP obligations under the Medicare Protection Act and regulations, such as enrolment, proof of identity to obtain a BC Services Card, and updating their account in the case of family and address changes.
The Medical Services Commission is made up of three representatives from government, three from the Doctors of BC and three members from the public. Its mandate is to facilitate access to quality health care and diagnostic facility services for people in B.C. under the Medical Services Plan.


2 Large Vacant Blocks (Lots 1 & 3) – Start Designing & Building Your Dream Home.
On offer in the fast-developing suburb of Camira we are excited to assist the new purchasers to acquire their block of choice. Here on Kertes Road you will find the best building and investment opportunities currently in the Camira Market. The precedent has been set. With an estate down the road selling blocks half the size at this price, it is clear that land of this size and quality will never be replicated at this price again!
*Please note the land is available as land only. If you have interest in our house and land packages on offer, please do not hesitate to get in contact to enquire.
Located in predominately an owners occupier pocket of Camira these blocks of land are conveniently located amongst other proud homeowners. It is also just a short stroll to Pollard Park and Richard St Park. For those who like to stay at home, you will have enough yard on your new block to stay right at home to kick the footy around!
With the titles currently being finalised, we challenge you to search and compare, as you will not find another block of land that offers the great lifestyle you can experience here. Save on the stamp duty and build a home that suits your needs.
Land as good as this sells in days not weeks so inspect, fall in love, make your offer and own.


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Xbox Playdates Canada > News > Introducing the Newest Member of the Xbox One Family – the Xbox One S All-Digital Edition
At Xbox, we're inspired by gamers – they're at the center of everything we do. We're constantly listening to your feedback and looking for new ways to provide the best value and choice in gaming. Today, we're excited to announce a new choice we're bringing to gamers – the Xbox One S All-Digital Edition.
Consumer appetite for digital content and experiences are stronger today than ever before. Gaming and technology have changed quite a bit since the first Xbox debuted in 2001. During this time, we've seen a digital transformation across gaming, music, TV and movies. And closer to home, the success of Xbox Game Pass, which gives members access to over 100 great games, is just another example of how consumers today have grown to expect great digital content. The Xbox One S All-Digital Edition was created for those who prefer to find and play their games digitally and are looking for the most affordable way to play Xbox games.
The Xbox One S All-Digital Edition comes bundled with three of our most compelling and popular games – Minecraft, Forza Horizon 3 and Sea of Thieves. These critically acclaimed titles are sure to offer something for everyone in the family to enjoy.
Those new players joining us can get a head start on their digital collections and discover their next favorite game through Xbox Game Pass. If you haven't tried Xbox Game Pass yet, the Xbox One S All-Digital Edition comes with a special offer to get started with access to over 100 great games, and with new games being added all the time there will always be something new to queue in your digital library. Cord cutters will enjoy watching 4K HDR entertainment with Netflix, Amazon and more, and thousands of Xbox One games are available from the Microsoft Store digitally.
We realize price plays an important role in providing the opportunity to make console gaming more accessible to more gamers around the world. Available for pre-order today at $249.99 USD, the Xbox One S All-Digital Edition is $50 USD less than Xbox One S, and we expect to maintain at least that price difference between the two consoles going forward.
You can pick up the disc-free Xbox One S All-Digital Edition at your local Microsoft Store or online, as well as select retailers worldwide including Walmart, Best Buy and Amazon.com beginning May 7.
We're always grateful to our fans for their continued support and look forward to continuing to bring you a diverse line of best-in-class hardware to fulfill all of your gaming needs.
Visit Xbox.com or your local retailer, including Microsoft Store, for more information.


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Urban Horror:
Neoliberal Post-Socialism and the Limits of Visibility
By Erin Y. Huang
Reviewed by Hongwei Thorn Chen
MCLC Resource Center Publication (Copyright February, 2022)
Erin Y. Huang, Urban Horror: Neoliberal Post-Socialism and the Limits of Visibility Durham, NC: Duke University Press, 2020. 288 pp. ISBN: 978-1-4780-0809-5 (Paperback); ISBN: 978-1-4780-0679-4 (Cloth).
In Baober in Love (恋爱中的宝贝, 2004), Li Shaohong's 李少红 bizarre adaptation of the French romantic comedy Amelie (2001), the eponymous character is introduced with a surrealist montage. A baby is attacked by a cat in a garbage dump. A child, clad in red, encounters a cat monster as school lets out. In a stylized and CGI-laden scene of demolition, the same child screams in terror as the roof to her Beijing courtyard house is removed, and, in a 360-degree orbital shot, a skyline filled with high rises forces itself onto the horizon. The adult Baober, played by Zhou Xun 周迅, is later shown stalking Liu Zhi 刘志, her teenage crush, in a shopping mall, the consumerist utopia that has emerged out of the urban ruins. Their ensuing relationship, consummated in another shopping mall, is troubled by a quarrel over interior decor, as Liu attempts to fill the couple's apartment loft—located in a repurposed factory—with designer furniture, which the film shows to reenact the demolition of Baober's home, and more broadly, the effacement of her embodied historical experience.
Li Shaohong's feminist psychodrama centered on consumerist interiors is one of the many films discussed in Urban Horror, Erin Y. Huang's expansive phenomenological study of film and urban space in contemporary greater China. Drawing on contemporary theory and an eclectic array of cinematic texts from mainland China, Taiwan, and Hong Kong, Huang's book pursues a thrilling and sophisticated analysis—or what she calls a Marxist phenomenology—of horror as a public affect in the postsocialist Sinocentric system. For Huang, "horror" does not name a cinematic or literary genre populated with recognizably monstrous figures; rather, it is a "historical mode of perception arising when the perceived external reality exceeds one's internal frame of comprehension," a set of affects and sentiments that accrue in bodies as they are violently restructured by neoliberal postsocialism, the author's term for the economic rationality of the present (6).
Marxist Phenomenology, the theoretical framework Huang develops in the book, aims to build a means of describing the body's felt—and not necessarily intelligible—relation to the historical epoch and its strategies of power. The approach is premised on Friedrich Engels' observation that in nineteenth century Manchester, "everything which here arouses horror and indignation is of recent origin, belongs to the industrial epoch" (quoted on p. 9). Unlike other strands of materialist critique, which would attempt to find the origins of this horror in a knowable present, Huang's Marxist Phenomenology dwells in horror as a complex sentiment, one that contains occluded pasts and potential futures that cannot be named. In this sense, the dehistoricized interior of the Beijing factory loft in Baober is, perhaps, paradigmatic of this neoliberal postsocialist horror. The factory, a key topos of the socialist imaginary, was also the site of its suppressed contradictions, of which state feminism's disavowal of the particularities of gendered embodiment was one. When the factory is transformed into a designer interior, socialism's unfinished business does not go away, but rather becomes entangled in neoliberalism's strategies of controlling femininity through consumer culture and domestic space. What does go away, however, are the ideological and cognitive frameworks that make the future that the factory promises legible: the factory loft thus becomes a monstrous space.
Urban Horror is a sprawling, complex, and challenging book, full of acute theoretical insights and detailed close readings of narrative and documentary films. From the perspective of modern Chinese cultural studies, one of the book's most poignant interventions is its phenomenological and spatial reframing of the term postsocialism, which, like other "posts" (such as postcolonial, postmodern, poststructural, and postcinematic, to name a few), is notoriously slippery, declaring a rupture with the past while referring back to it as an anchor for the present. If some scholars theorize postsocialism as an era in which the unrealized promises of socialism can be crafted anew (Dirlik 1989; Zhang 2008), others point to the proliferation of cultural logics and economic rationalities that suture the formerly socialist world into global neoliberal capitalism (Harvey 2005; McGrath 2008). For Huang, it is precisely this crisis of periodization, the unresolved relationship between the socialist "past" and the neoliberal "present," that characterizes China's neoliberal postsocialism as a theoretical impasse. As she suggests, the simplistic bifurcation of past and present cannot hold, as the economic, political, and social dispositifs of both socialism and neoliberalism continue to operate, often in conjunction. Complementing the temporal register of debates about postsocialism, Huang develops a spatial analytic, taking as her main inspiration Henri Lefebvre, who in his 1967 The Production of Space observed the complicity between capitalist and socialist strategies of organizing space or, more accurately, of "rendering space reproducible through abstraction, homogenization, and repetition" (Huang 22). After the collapse of the geopolitical oppositions of the Cold War, these complicities come into view: socialism loses its territorial specificity, and Taiwan and Hong Kong, and to a different degree the Global South and the capitalist West, all become a part of the space-time of Chinese postsocialism.
Urban Horror, however, is not a history of urban space. As phenomenology, it is interested in how space is experienced by embodied subjects and, moreover, how the affects accumulated in bodies are projected into the future. Cinema, for Huang, is the privileged medium for circulating embodied affect and imagining futures. The book's five chapters hence proceed with theoretically informed close readings of individual films, grouped sometimes thematically and other times by auteur. For the most part, she avoids the films that can generically be categorized as horror, assembling instead a collection of art films, gallery videos, documentaries, and misunderstood (and often failed) commercial blockbusters. Referencing Rey Chow's (2012) discussion of mediatic capture, Huang argues that film—taken loosely to include video and digital media—does more than record reality; it transforms, partitions, and communicates it, serving as the constitutive infrastructure for contemporary experience and its speculative projections. A "dispersed and contingent network of circulation" for mediating unnamable affects, film registers, reworks, and disseminates urban horror while seeking to work out the relationships between the sensible and intelligible, the affects that are registered on the body and those that can be comprehended by language (26).
This analytical framework is immediately put to the test in chapter 1, which builds Huang's spatial argument about the indiscernibility between socialist and capitalist spatial logics through the representation of factory spaces in several films spanning the Mao era and the postsocialist present. Citing video artist Harun Farocki's provocation in Workers Leaving the Factory (1995), an essay film that suggests that labor is rendered invisible throughout cinema history, Huang attends to the motif of the factory gate as the threshold that separates the inside of factories from the broader social world. As part of a spatial machinery that conceals the exploitation of labor in an enclosed interior, the factory is a "a site of tension where human labor as life and as a thing comes into conflict" (34). In socialist films, such as Resplendent Light (Xu Ke 许珂 1949) and Fiery Youth 青春似火 (Dong Kena 董克娜 1976), this tension is disavowed in favor of the heroic figure of the worker. This ideological synthesis is not without its internal inconsistencies: the latter film, made at the tail end of the Cultural Revolution, attempts to celebrate both the full automation of factory work and the heroic status of the laboring human. In the market-era films that Huang addresses in the second half of the chapter, the socialist factory becomes one of the "primary cultural sites where the transition from socialism to post-socialism is negotiated and visualized" (60). In Zhang Meng's 张猛 whimsical drama The Piano in a Factory 钢的琴 (2010), the protagonist recruits laid-off workers to build a piano for his daughter, making use of an abandoned steel factory. This labor of love becomes a way of reliving the rhythms of factory life under socialism, while also effacing the objectification of the laboring body on the assembly line, not to mention the violent restructuring of the labor force in the 1990s. Factory labor, both past and present, defies transparent representation, a fact that is also evident in the other films discussed in the chapter, which include Jia Zhangke's 贾樟柯 A Touch of Sin 天注定 (2013) and 24 City 二十四城记 (2008), as well as Cao Fei's 曹斐 gallery video Whose Utopia (2006). The latter, shot on a Siemens art grant that gave Cao access to the company's Guangzhou light bulb factory, partitions the production process, the workers' art projects, and portraitures of their faces into disconnected segments that each project a different future without being sutured into an ideological whole. For Huang, such cinematic strategies gesture toward the heterogenous ways in which bodies inhabit the factory space and of inhabiting and sensing the everyday that harbor the "possibilities of collective action to create something radically different" (Lefebvre quoted in Huang, 65).
If chapter 1 attends to the space of the forces of production—the factory—chapter 2 turns to domestic housing as the space of consumption and social reproduction. Here, the neoliberal privatization of urban space—most notably the demolition of socialist era housing systems and massive urban redevelopment—reenacts domesticity as a space for controlling female bodies. Through close readings of the urban films of the Fifth Generation director Li Shaohong, Huang examines how "the legacies of Mao-era state feminism are considered alongside a global media network that circulates and reproduces commodified femininity" (72). In between socialist state feminism and postsocialist consumer fantasies, female subjectivity goes doubly misrecognized, but Li's films, in their narration of tortured women protagonists, limn the "making of neoliberal post-socialism from below, in the rituals of everyday life, in acts as common as interior decoration where a post-socialist urban future is collectively rehearsed and experienced" (99). The traumatic and objectifying imprints of interior decoration are indeed the key to Baober in Love, which is the centerpiece of the chapter. Released on Valentine's Day as a CGI-filled romantic blockbuster—misleading marketing that led to bewildered audiences and critics—the film experiments with the degree to which commodifiable genre formulas can encompass postsocialist femininity. They cannot, but in their repeated rehearsals of gender roles and consumerism, they make palpable desires and traumas occluded by both socialism and neoliberal consumer culture, desires that, symptomized by Baober's phantom pregnancy in the film, gesture toward a "different futurity" (100). As in her other urban films, including The Door 门and Stolen Life 生死劫, Li works strategically with the essentialized markers of sexual difference—characteristic of market-era feminism's rediscovery of female sexuality—sketching out the ways women's bodies harbor a differential experience of the everyday in neoliberal postsocialism.
Chapter 3 takes up directly the role of technological media in constructing the temporal experience of neoliberal post-socialism. Here, the focus turns to independent documentary, a regime of image-making bolstered by digital media, and one that responds to the "desire and demand of seeing post-ness, a task that requires the reorchestration of time" (103). Here, Huang offers what is perhaps her most compelling argument as to why neoliberal postsocialism is experienced as distinctively urban horror. As she argues, the spectacle of urbanization of Chinese cities in and after the 1990s, the demolition of old housing and the development of high-rise apartments and shopping malls, is one of the ways in which the radically uneven transformations of everyday life after socialism become most legibly thematized as linear change—as a socialist past receding before a capitalist present. Also presumed to be working outside and against state power, independent documentary participates in its own regime of hegemonic visibility, sustained by non-profit global media networks and the "demand for visible evidence of China's post-socialist transformations" (140). Challenging this reductive schema, Huang turns to a set of documentaries that attend to the gaps between periodizing categories and the uneven patterns of the everyday.
The chapter begins with the French filmmaker Chantal Akerman's L'Est, a film that shows how, despite the fall of the Berlin wall and the proclaimed "end" of socialism, life in East Berlin continued to adhere to everyday rhythms that were not noticeably changed. Akerman's insights into the relationship between everyday life and historical narrative informs Huang's magisterial reading of Cong Feng's 丛峰 Stratum 1: The Visitors 地层1:来客 (2012), a demolition documentary that plays with the temporal experience of urban change. Images of demolition have become the most recognizable face of China's urban transformation, yet Cong's approach to urban ruins, as Huang shows, prompt a reflexive contemplation of the act of viewing such images, or "ruin gazing" (115). Split into two parts, the film begins with oral history interviews, with interviewees walking through the ruins of a recent demolition site. Urban ruins here become a site of nostalgic recollection, yet, as the film slowly reveals, the memories recalled become less and less localizable to the space in which their recollection is filmed. In the second half of the film, Cong uses extensive time axis manipulation to picture the process of demolition (and its reversal) from a non-human perspective, with a camera positioning that emphasizes the "nonselective selection" of the impassive recording apparatus (128).
This nonlinear approach to the image of urban ruins, for Huang, reflects on "the ephemerality of remembrance in the expanding digital archive of disappearance," and the role that digital cinema plays in both recording and extinguishing memory (128). Compared to her complex and appreciative reading of Stratum 1, Huang's comments on Huang Weikai's 黄伟凯 celebrated documentary Disorder 现实是过去的未来 (2009) are short and critical. Turning heterogeneous images from for-sale videographic footage into uniform grainy digital black and white, the film, she argues, flattens the temporality of urban life into an "intensive present," offering a more commodifiable image of contemporary China as (carefully edited) urban chaos (140). The comparison of the two films leads to a sophisticated assessment of independent documentaries and how they orchestrate the visibility of the postsocialist urban landscape. Documentary images are capable of making palpable the "the accumulation of extinguished pasts and irrecoverable gaps of knowledge" that exceed comprehension—hence registering urban horror—but not all documentaries do so (131).
Chapters 4 and 5 turn from Mainland China to Hong Kong and Taiwan, spaces that are not traditionally considered as being part of the matrix of postsocialism. Yet, if postsocialism refers to the undoing of Cold War geopolitical divisions between East and West, the precarious and exceptional status of Hong Kong and Taiwan in the contemporary era are most certainly a product of it. Hong Kong, as Huang argues in chapter 4, was always a borderland, but in postsocialism it is produced as a space of exception, a "nonplace" connected to the nexus of free trade zones that include Shenzhen and Dongguan, designed to facilitate the flow of capital and goods. Here, the felicity of Lefebvre's spatial analysis reveals itself again. The urbanization of Hong Kong turns it into a replicable "infrastructural" space, in which the totality of the city itself recedes against the horizon of the "spatial software of urbanization" (155).
The films of Fruit Chan 陈果, the texts at the center of this chapter, map the "semi-social experiences, vague dissatisfactions, and speculative feelings" that accrue in the transformation of Hong Kong into a nonplace of circulation (157). Rather than seeing Chan's films, as is commonplace, as manifestations of anxiety over the loss of Hong Kong identity, Huang reads them, in particular his bizarre apocalypse film The Midnight After 那夜凌晨, 我坐上了旺角开往大埔的红VAN (2014), as speculative fictions about the "not yet nameable" feelings accruing from a city that has become a proliferation of special zones and circulatory networks (167). As the remaining denizens of the city face an unexplained apocalypse, they begin donning makeshift personal protection equipment—goggles, masks—that bear an eerie similarity to the scenes from the Umbrella Movement protests of later that year and the anti-extradition protests in 2019. Images contain futures that they do not yet know. Yet, in making this observation, Huang does not seek to establish a causal link. Instead, The Midnight After is a "rehearsal" for what was to come, the manifestation of a "longer history of affective and sensory accumulations and intensities" (149). Disclosed through Marxist phenomenology, Chan's films become speculative rehearsals of forms of embodied sensing that can resist reduction to an object circulating in a borderless world.
The book's final chapter discusses Taiwan, historically a "quintessential in-between space" caught at the intersection of empires and Cold War power blocs, through the oeuvre of the Malaysian Taiwanese director Tsai Ming-liang 蔡明亮. As in Hong Kong, the post-condition in Taiwan involves increasing economic interconnectedness with the Mainland, but Taiwan's history as a Japanese colony and its Cold War role as a bulwark against communism position it differently. "Rather than referring to a physically tangible space, Taiwan refers to the historical condition of subjection to multiple systems of inclusive exclusions," as Huang puts it (189). Tsai's films tarry with the multiple and overlapping systems of "strategic nonrecognition" that define the island nation, but they do so without treating Taiwan as a coherent referent of identity politics (189). Indeed, across Tsai's films, it is the urban facades of neoliberal development that cause Taiwan to recede into an absent presence, and which also connect Taiwan to other South Pacific nations such as the Philippines and Malaysia. Tsai's slow cinema, which eschews narrative and dialogue in favor of the "visible-incomprehensible" of everyday rhythms and embodied sensing, offers a channel for seeing precarious life as an accumulation of mundane urban horrors (191). Tsai's Buddhism-inspired aesthetics occupies an important place in Huang's analysis of his films. His abstract and empty landscapes and his focus on human bodies in sustained embodied acts—breathing, eating, urinating, sleeping, crying—are, as Huang suggests, efforts to think the relationship between bodies and neoliberal spaces as void, but ones that defy the "capitalist definition of nothingness—a strict division of presence and absence based on assigned values" (216).
The significance of this nothingness becomes clear in The Hole 洞 (1998), where during an epidemic quarantine, a hole in the ceiling, the product of an unfinished plumbing job, connects two apartments and puts two lives in intimate proximity. In Tsai's oeuvre, Huang points out, interior plumbing (elsewhere thematized by the space of the bathroom) is foundational to the modern distribution of the sensible, dividing cleanliness from filth and what is valuable from what is disposable. The hole is thus "not only the architectural hole between two apartments but also a symbolic fracturing of a claustrophobic architectural segmentation designed to economize space" (207). In Huang's estimation, the holes between apartments, like the gaps between mute characters and recorded pop music in I Don't Want to Sleep Alone 黑眼圈 (2006), become ways of making visible new distributions of the sensible that inhabit the landscapes of neoliberal postsocialism.
As a whole, the chapters offer a compelling case for how horror can serve as a phenomenological analytic for the experience of China's postsocialist present, which, as the book's epilogue reiterates, is not so much about the "now" as it is about the future of a disavowed past. Departing from the prevailing focus on how cultural texts consciously parse monstrosity, Urban Horror offers a novel approach to horror as a technologically mediated affect that crystallizes the overdetermined field of historical forces pushing us into the future. As mentioned above, Huang also demonstrates the power of the Lefebvreian spatial analytic in mapping the production of socialist and postsocialist spaces, complicating the tendency of area studies fields to localize socialism's legacy in clearly contained national contexts.
The most rewarding parts of Huang's book are its virtuosic close readings, which offer fresh insights into the more difficult and often misunderstood aspects of the films it considers (its readings of Baober in Love and Stratum 1, in my opinion, stand out in this respect). Huang's prolific use of theoretical citations offer the reader a glimpse into her multifaceted conceptual inspirations, but it also slows down and sometimes obscures the elaboration and follow-through of its arguments. The book's negative definition of urban horror—as that which exceeds naming and intelligibility—is also not without its problems. For one, there are a variety of experiences that exceed cognition that are not always horrifying, and for Huang's characterization of horror to hold, she must always return to the conceptual categories that horror defies. In chapter 5, for example, Huang aligns Tsai Ming-liang's approach to filming precarious subjects doing "nothing" with the Buddhist aesthetics of the void, differentiating the latter from the void abhorred by capitalism and Western philosophy (the latter described by Leszek Kolakowski as "metaphysical horror"). The "nothing" in Buddhism and in Tsai's cinema is different from the "horror of not knowing," but for it to be taken as horror, one must presuppose capitalism's view of nothingness as lack (198). Such references to residual intellectual frameworks are perhaps part and parcel of the challenge of writing in the era of the post-, where modernist Cold War categories remain operative if no longer nameable as such, but Huang's book could more clearly elaborate its own position in this impasse. The practice of naming forms of life that are irreducible to the imaginaries of Sinocentric neoliberal postsocialism may indeed be essential to building futures not constrained by it. This difficulty, however, should not take away from what remains a thrilling and illuminating analysis of Chinese postsocialist mediascapes. Erin Y. Huang's book is a powerful and timely piece of speculative theory and film criticism, a pressing read for scholars of modern and contemporary China, film and media studies, and the study of postsocialist culture.
Hongwei Thorn Chen
Chow, Rey. Entanglements, or Transmedial Thinking about Capture. Durham, NC: Duke University Press, 2012.
Dirlik, Arif. "Postsocialism? Reflections on 'Socialism with Chinese Characteristics'." Critical Asian Studies 21, no. 1 (1989): 33-44.
Harvey, David. A Brief History of Neoliberalism. Oxford: Oxford University Press, 2005.
Lefebvre, Henri. The Production of Space. Tr. Donald Nicholson-Smith. London: Blackwell, 1991.
McGrath, Jason. Postsocialist Modernity: Chinese Cinema, Literature, and Criticism in the Market Age. Stanford: Stanford University Press, 2008.
Zhang, Xudong. Postsocialism and Cultural Politics: China in the Last Decade of the Twentieth Century. Durham, NC: Duke University Press, 2008.


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Today was one of those days…you know the kind – where nothing seems to go right? From the moment I woke up, at 6:15, to the ear-splitting scream (via baby monitor, which apparently sits WAY too close to my ear) of "MOMMY!!!!!!!!!" to this moment of going to bed, typing hunt and peck style due to the bandaged and very sensitive finger, it has been a rough one.
After hurling myself out of bed and running across the house expecting giant aliens to be coming through the windows or at least some blood, I entered C's room and found him sans UFOs or major injury to life or limb. "What?" I asked, not altogether nicely, yet still expecting some unseen disaster to appear before me. "Ummmm, I can't sleep. Will you snuggle with me?" Now, darn, if this isn't just adorable, and sometimes might even work, but not today. After a brief, few sentences with choice words about when it's appropriate to yell at Mommy in the wee hours, I went back to bed. It was short lived, however. Only mere minutes after I fell back to sleep, came the next most pleasant way to be awakened, which is "I NEED A WIPE!" This one is a constant occupational therapist's nightmare as it's particularly difficult to teach a body unaware, fine motor skills challenged, can't place hands on something unseen even if it is part of one's body, and still doesn't wash hands very well little person how to wipe his own bottom.
This was day two of C staying home with a cold. He's not particularly sick, but if he overdoes it, he will be. So he's been home hanging out with his humidifier and doing his best to drive me to drink. Today, however, determined to do something productive with him, I decided we'd do a craft together. We searched the Highlights magazine craft pages, and I picked out two crafts that seemed doable and for which we had supplies. Naturally, when presented with the two options, C picked out a third. I reiterated the two choices and he picked yet another one on the page. This went on until he had chosen every single craft on the page except the two I said we could choose from. At that point, I left him in his room.
Once he decided to participate, I asked him to get four pieces of recycled paper. Predictably, he said he wanted new paper, and I repeated the request for recycled paper. He went and picked out new paper anyway. Then he went back to his room. This went on for quite some time, during which I had the usual argument I have with myself while in the midst of these episodes. I recognize the need for bending to C's idiosyncrasies, but I also recognize the need to have a child who is capable of completing a task I request. This is a difficult balance, and one which causes great struggle for me. C is so high functioning that at times I wonder if I'm too hard on him and am forgetting the challenges he faces; that recycled paper (with printing already on one side) likely bothers him on a deep sensory level. It sounds silly, but I suspect it's true – the writing on one side probably distracts him, catches his eye, annoys him. And the constant need to debate, discuss, and argue is probably not only resultant of his feeling crummy, but also an effort to exert some control over his environment. So I feel like Bad Mommy lady, but I know giving in at this point will make all future debates and discussions far more difficult, so I hold my ground.
When he does come around, we happily sit down to make our cut out butterflies, and my punishment for being Bad Mommy is quick to come. I promptly send the scissor blade right into my index finger, and while the blood is dripping down my arm, I am reminded of this morning's worry. It has come full circle, and I expect the UFOs to be landing out in the backyard any moment now.
I often describe C as high maintenance. He requires a large amount of energy and brainpower on my part, and I compare it to having a 2 year old 10 year old. On one hand, he needs constant attention and supervision. On the other hand, he is very bright and knows things most 7 year olds don't know (heck, he knows things most adults don't know). This combination makes for one frazzled mama at times.
I feel as though I am always trying to keep one (or two) step(s) ahead of him. How is he going to react if I say this? What will he do if I try that? Is there any way to avoid the stress he'll face if we go here? What can I do to make sure this event is successful for him? How can I help him deal with his feelings if it isn't? The adjustments we've made in daily life have become our new normal; so much so, I can go whole days without thinking about autism – until we go to the park, and then WHAM, I remember.
I sometimes laugh at myself because I am far from a career I so desperately wanted, and I worry I'm not using my brain or skills. Then I remember I'm using every brain cell and all my available skills to parent this child. I knew C would outsmart, outwit, and outlast me at some point in his life (yes, I'm a Survivor fan), but I never thought it would happen when he was 4. And now he's 7. But in some areas he's 2. Some he's 10. You do the math.


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Jonathan Justin Dlouhy
August 23, 1955 ~ August 3, 2017
Jonathan Justin Dlouhy Obituary Jonathan J. Dlouhy, age 61 of Decatur, GA passed away on July 31, 2017, from a massive heart attack. Jonathan was the principal oboist of the Atlanta Symphony Orchestra from 1979 to 2006. Originally from Bedford, Ohio, Jonathan was a 1976 graduate of the Cleveland Institute of Music. While attending the Cleveland Institute of Music, he won the Institute's concerto competition, performing the Mozart Oboe Concerto with his own cadenzas, and accepted an invitation to tour the United States and Italy with the North Carolina School of the Arts International Orchestra as principal oboe. Jonathan was also a student at the Eastern Music Festival, where he was a two-time winner of the Outstanding Musician Award. Jonathan returned to the Festival in 1987 as a featured performer and teacher. Upon graduation, Jonathan spent one season playing with the Akron and Canton Symphonies. In 1977 he accepted the position of associate principal oboe with the Toronto Symphony for two seasons. Jonathan has served on the faculties of the Cleveland Instuitute of Music, Ohio University, The Royal Conservatory of Music in Toronto and Georgia State University. With the Atlanta Symphony appointment, Jonathan was a featured soloist countless times. He spent his summers performing with the National Symphony in Washington, D.C. (1979) and with the Chautauqua Summer Festival (1981 & 1982). Jonathan was an avid reader, baseball fan (Atlanta Braves) and social media enthusiast. He will be remembered for his musical talent, sense of humor, and quick wit. Jonathan is survived by his daughter Elizabeth, his sister Susan, and his mother Margaret. Jonathan was preceded in death by his father Joseph. A private memorial will be held later this summer.
Russell Wilson says:
RIP Jon, thank you for being my oboe teacher. The lessons I learned are still in use almost everyday.
David Crispin says:
Thank you Jonathan, for your friendship and the inspiration you've given me over the years.
Stu dunkel says:
Well we will have another cigar together in heaven. Great player and inspirational person
Ronda Respess says:
I remember how kind you were at my mother's funeral — and you were there. I remember how frustrated we both got on a canoe trip in North Georgia when the water was low and we had to portage more than paddle! I remember that famed evening at the movie theater in Buckhead. I remember our last dinner at P.F. Chang's in Roswell. Rest in peace friend.
Francine Schutzman says:
It's a shock to learn of Jonathan's death. I met him when he was a student at the Eastern Music Festival, and we reconnected when he played in Toronto while I was in Ottawa. He was a great talent and a lovely person.
John Spagnuolo Jr says:
An inspiration to us all …. thank you Jon ….. from John …. a begining oboe student
Susan Arters Kamman says:
I first met Jon when we were in grade school at Glendale Elementary in Bedford. I had not seen him since high school graduation but had kept track of his music career, always interested in knowing where his musical talent would take him. Please accept my sympathies on your loss.
Roger Cole says:
Very sad news. I'll never forget the fun we had at Tanglewood together back in the 70's. A great oboe player.
peter bowman says:
The first time I heard jon play he was still in high school. He sounded amazing and went on to be a star extraordinare. I can still hear his beautiful tone. He will be remembered.
James Wallenberg says:
This is a very sad loss. I recall meeting Jon after I, a violinist, joined the Toronto Symphony Orchestra in 1978. We roomed together on the Western US tour and had a lot of fun. Jon loved spicy Chinese food and sushi both of which he introduced to me. We would have fun playing video games at an arcade called FUNLAND. After he left Toronto I visited him in Atlanta. His musicianship in the TSO was wonderful. My sincere condolences to his family
Frank Morphy says:
Spent an enjoyable two years in the TSO with Jon. And he played at our wedding.
Our condolences to his family.
Frank and Carolyn Morphy
Christopher Rex says:
Jon contributed so much to the ASO during his tenure as Principal Oboe–beautiful playing, beautiful concerts, beautiful recordings
Harry Sargous says:
Jon was a very gifted oboist and musician. My profound condolences on his passing.
Martin Hebert says:
I learned as much about the oboe, playing with Jon when we were both young, as I did from any teacher.
Dorothy Darlington says:
I am shocked to hear this news! I never realized I was older than my favorite oboe teacher! Jon was so helpful to me and helped me win several auditions which certainly furthered my career. I never got to thank him! Huggggs to him wherever he is and more to his family! Remember the blessing of having him in your life from the oboe playing to the wonderful person!
There are no words to describe how I feel. Such a tragic loss at only 61. My love and condolences go out to Elizabeth, Peg and Susan.
Steven Gross says:
Jon and I shared a number of venues during our careers. Students together at Tanglewood, a summer as members of the National Symphony, a summer music festival, and several years as members of the Atlanta Symphony. He was a solid, accomplished player, whose musicianship and consistency were impressive.
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