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DETOXIFICATION: Empowering Ourselves Through Change
We've become a society of people who do not trust or even believe in our own experiences. We have to have them reconfirmed by an authority figure. But as we empower ourselves to make decisions that we know are in our best interests, we need no longer automatically assume that we have no insight or knowledge, therefore relying exclusively on outside so-called expert opinion. Our culture, however, encourages us to rely on the doctors, who are in charge of maintaining the medical paradigm to keep that system going. We have great acute medical care in this country. Yet we do not have great chronic health care: we have sickness maintenance. Our current medical paradigm does not take into account things that are significant outside of pharmacology and its single cause, single cure, single effect. It does not look at the multifactorial approach to disease and it fails to honor the body's natural innate healing capacity. It treats the patient and the patient's body as simply broken-down parts to which the doctor provides the only legitimate repair, and most people have accepted that. As a result, we have a nation that's extraordinarily toxic.
The first three levels of medical intervention involve (we're talking about three doctors): an orthodox doctor who gives you a drug to treat symptoms, but nothing happens to change the cause; a second doctor who specializes in cause and effect and will tell you this is the cause, so eliminate it -- and as a result your symptoms clear up; and a third who says that because you've been weakened over a period of years by constant bombardment to your body and your immune system of toxins and neglect, you're functioning at a much lower than optimal level. This person gives you various herbs and botanicals, vitamins and minerals which bring your level of nutrients up to a better or optimal level, improving not only your symptoms but your overall health status as well. That's still not enough!
It's the truly holistic doctor who looks at everything, who will take into account your mind, your behavior, your attitude, your belief systems, your perceptions. Does your belief system allow you to be adaptable? Do you reason, or do you react? How do you deal with anger? Do you internalize it, which depresses the immune system and overstimulates adrenaline, in effect, killing you slowly? Or do you have constructive ways of internalizing so that you are not eaten alive by stress?
Then this person helps you to identify anything in your relationships, home environment and general environment that is affecting your moods. Now you can begin to put all the pieces together. Your aches and pains, your high cholesterol are not due just to having eaten too much dairy. It is synergistic; it is a combination. We are not rats living in an isolated, purified environment drinking the same distilled water, eating the same rat chow, and having the same consistent full-spectrum light. We are dynamically integrated beings, sharing thousands of chemical, bioelectrical, emotional energy exchanges every single moment. As a result, nothing in life is constant -- there is no constancy ever. We are never as young today as we were yesterday. And as a result, we must change, we must be adaptable.
Your Total Being
What's most important is that we begin to detoxify. You cannot detoxify if you don't know what you're detoxifying from and how all things are interconnected. Detoxing for one person might mean taking some enemas for a week. But that's not a detox. A detox is the process of constructively disengaging from habits and patterns of behavior and lifestyle that precipitate disease processes. Therefore, to properly detox you must identify any pattern of behavior or lifestyle that has contributed to a negative input and consequent negative result.
If you have a habit of always reacting with anger, the anger pattern would have to be released. You must change it. Here's an example: A lot of things make me angry. But instead of getting angry and going out and hurting myself or yelling at someone, I take my anger and ask myself: What am I angry about? How can I best release these feelings? Then I act in a constructive way that might change the situation I am angry about. You should not allow a sense of helplessness or hopelessness to make you a victim. It's the person who feels out of control and helpless who does nothing for themselves. And that is the person who then starts to overeat. That's the person who walks around all day drinking coffee, who ends up taking the aspirin and gets colitis, who gets constipated, who gets diseases in their intestine.
Take It Slow
Detoxing can't be speeded up. In our society we want instantaneous results. It's not possible. You have to honor the body's natural rejuvenative capabilities. For instance, it takes about ten months to grow a whole new skin. It takes about a year to completely cleanse and rebalance the body's internal milieu, the body's chemistry. You have to eliminate all bad foods, bad water, air. Then the cleansing action of the juices is the first step. Distilled water is fine, as long as you are not also drinking the chlorine and fluoride in tap water; tap water has parasites coming through that are not filterable. You have to have vegetable juice -- fresh-squeezed juices only -- preferably six a day.
By buying your own juicer and juicing the vegetables yourself, you'll get the value of the enzyme activity, which is missing in bottled vegetable juices because they're already pasteurized. The richness of the chlorophyll, the organic quality of produce free of pesticides -- that's what you need in your body! The enzymes, the chlorophyll, the beta-carotene, the cruciferous vegetable nutrients -- these strengthen your body and help in its cleansing.
You have to be careful about carrot juice, which may have too much sugar. If you're hypoglycemic or diabetic, you have to cut the carrot juice by half. And you don't want more than one ounce of real deep dark green vegetables or wheat grass juice or parsley. You want primarily juices such as celery and cucumber juice; apple is a good cleanser, watermelon is the best. Lemon is good. Use these as stimulants for your body to release or throw the toxins out -- gradually.
We have to cleanse our system to get pesticides out of our fatty tissue. This means an aerobic exercise program that increases your capacity to burn fat and will release toxins if you're taking vitamin C five times a day -- I suggest between 2000 and 10,000 mg a day, depending upon how toxic you are and your tolerance.
Your Level of Toxicity
To know exactly how toxic you are, you have to be tested. You cannot guess at this. To be tested, you can go to any physician and request a viral panel test. You also want a SMACK 24. This is a standard test that will test you for your nutrients, for cholesterol and triglycerides. Once you know your deficiencies, you can bring these levels up. You should also have a heavy metal test, because heavy metal exposure often interferes in biochemical processes and enzyme systems. So even if you're eating the right food, you may not be getting it absorbed and utilized because of heavy metals. You also need to have a digestive test to determine if you have malabsorption syndrome. This means that because of faulty eating habits, eating under stress and eating in a hurry, you have created a reduction in the available nutrients that can go from the intestine into the blood stream to be utilized. And a lot of people simply have such poor digestion that upwards of 60-80% of the nutrients in what they eat just don't get absorbed and utilized.
People today are sometimes reluctant to walk into the office of their MD and ask for tests to determine their toxicity levels. It's important to remember that when you go to a physician, you're hiring that person. You're paying them. You're in charge! If you get a doctor who has an attitude, call Liberty Labs or any blood testing laboratory in the country. There's a blood testing laboratory in every city of the United States. You then go directly to the laboratory. They can draw blood and they can give you the results. We're not talking about anything fancy here, we're talking about basic tests, simple results that you need to know. And it's your right to know, it's your body, it's your blood, it's your life!
Once you get the results, you will probably find that you are deficient in certain nutrients. The next step would be to educate yourself. If you can read a blood result -- which is simple -- it will clearly tell you whether you have high cholesterol or high triglycerides. You can learn about certain nutrients and lifestyle changes that will bring these high levels down. You then make the necessary lifestyle changes to get rid of the animal fats, the refined sugars and carbohydrates, and the white flour products. If you eliminate the fried foods, the very salty foods and pesticides, your body chemistry is going to start cleansing, detoxifying, attaining its natural state of strength.
If you see, for example, that you're okay in vitamin A, but you're deficient in zinc, you can turn to a basic nutrition book, like The Complete Guide to Sensible Eating, and note which foods are rich in zinc. Then you simply start eating zinc-rich foods. So much of this you can do on your own. People have, by the millions every year, been able to maintain their health because they are using common sense.
People who want to create health and be in charge of their own bodies become more self-educated. They spend a certain amount of time each week reading that which gives them insight and inspiration. It's nothing you can do overnight; but in time, if you take it into your life as a priority, you'll find yourself reading many different books and periodicals, attending seminars and possibly having some consultations along the way. You'll know what you are eating and drinking. You'll know what kind of nutrients you're absorbing. You'll know the difference between the nutrients sold in drugstores that are made from the cheapest possible ingredients (with highly allergenic binders and fillers and excipients) and those made without those binders, fillers, and excipients.
We've got to take our entire lifestyle into consideration, not just what we eat or don't eat. Most people will tell you they want to be healthy, yet these same people will not do anything to actualize it! We would like to think that we are one way, but what we are is what we live. And what we live is eating fast foods, and engaging in vicarious violence as voracious couch voyeurs to the society on television. One route to a total detox might involve shutting off all our televisions and radios, and reading no newspapers for a period of six months. And you would find that you had missed nothing. You would miss nothing that was constructive to you. Instead of feeling victimized and overwhelmed by what you see as the reality around you, you would have the time and peace of mind to create another reality -- your own.
By Gary Null
‹ Detoxification A Synergistic Combination Of Homotoxicology And Chinese Five Phase Theory SLOUGHING IT OFF: The Latest in Skin Detoxification ›


"You can hear it. The glass shattering, things being ripped apart. You can hear it tearing the ceiling off."
I thought it might get bad. Like thunderstorms. We were even saying we might be able to get out early. It could be an easy day. Then the first sirens went off. We had thirty-six kids—infants, toddlers, twos, threes, and fours—with teachers. My own grandson was in the building. He was nineteen months old at the time.
Now, the sirens go off all the time. Nine times out of ten, it's nothing. We have people stand outside and watch the skies. But we don't take it lightly as far as the children's safety. I got everybody in the bathrooms. We had mats that the kids sleep on for nap time beneath and on top of them. This one little boy, he wanted to read stories, because sometimes they go to the bathroom with a flashlight for story time. Teachers were singing songs to the kids, playing. Toddlers were crying underneath the mats. "It's hot."
The sirens hit again. I believe it was hailing. I'm checking the windows, checking the doors. I started opening up closets, ripping out more and more cots, getting them to the bathrooms. I gave everyone extra padding. Coats, anything. "Put this on top of y'all and get down."
I walked to the front of the building. People were telling me different things, different weather channels saying different things, parents calling me. But not until I saw it—then I knew. This was it.
It was like something came upon the building. Complete darkness. I had a Red Bull that I was drinking. I set it down and I leaned over a little bit and looked out. It got eerie, completely calm. And so I walked to the front door, and the tornado was tearing up the 7-Eleven down the street.
I started screaming, "This is it! It's here! We are being hit! It's outside the building!"
Teachers started crying. The phone starts going off. The only place we had was restrooms. We had no place to go. And the meteorologist says, "If you're not underground, you will not survive. This is a deadly tornado. You will die. If you're not underground—"
I got in the bathrooms. I sat between the toilet and the sink, and I didn't have anything to cover up with. I didn't even think twice about it. I'm just praying, Please, God, let it hold.
You can hear it. The glass shattering, things being ripped apart. You can hear it tearing the ceiling off. The teachers were crying, saying, "What is that? What is that noise?"
All the drains—you could hear the water being sucked out of the sewer lines, the toilets, like this gurgling.
The pressure changed. It felt like your head was going to explode. There was so much pull in there, like cabin pressure times ten. It just hurts, your body kind of shrinking, kind of beside yourself, disoriented. And then the ceiling starts giving way—ripping apart—and I can see outside.
This little girl Aria—she's four. She was underneath the mat. I don't know if she moved or what, but I look up and she's being lifted out of the bathroom. It was like she was still kind of lying down, kind of like levitating. So I'm holding on to the toilet, and I grab on to her leg, and she's screaming, "Don't let me go! Don't let me go!"
And I said, "I won't let you go. If you go, I go. We're both going together, okay? I swear, I'm gonna take care of you, okay?"
She's a pale child and she was bright beet red. And she's just crying. "Please, please."
And I said, "I promise. I promise. I got you. I got you."
And the bathroom—I can just see the tornado's on top of us. The ceiling been gone, the roof been gone. The debris. I mean things just flying around. It just chewed away and chewed away and chewed away. And all of a sudden, it started moving on. The pressure changed. It finally got calm.
I started to get up and out of the bathroom. I ran out and shut the door. The building was gone. We were completely outside. We could see the tornado heading to the bowling alley, just moving on, tearing other stuff up. I'm checking all my kids, and there's not a scratch on anybody.
One teacher, she came out behind me. She's like, "Where is my car?" It was way across the street, past the 7-Eleven, flipped upside down. The 7-Eleven was completely gone. Another one of my teachers, her purse had been in a closet adjacent to one of the bathrooms. They found it down the street wrapped around a telephone wire. My Red Bull—the last thing I did was take a drink and set it down. It was still sitting there half empty. Not spilt or anything, just sitting on the desk.


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Q: how can I add javascript code from import into iframe? I'm trying to inject javascript code below into iframe element but I don't understand how I can achieve this. because since the code is written in ES6, I can't find other way I can put the code into iframe element.
I'm aware that I can add javascript into iframe this way,
var scriptTag = "<script>alert(1)</script>";
$("iframe").contents().find("body").append(scriptTag);

but I don't understand how I can do that with code below.
import finder from '@medv/finder'
document.addEventListener('mouseover', event => {
    const selector = finder(event.target)
    console.log(selector)
}, true)

any help would be so appreciated :)

redpajama_set_name: RedPajamaStackExchange


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The Last Days is Raymond Queneau's autobiographical novel of Parisian student life in the 1920s: Vincent Tuquedenne tries to reconcile his love for reading with the sterility of studying as he hopes to study his way out of the petite bourgeoisie to which he belongs.
Reviews of the The Last Days
He kept a detailed journal of his time there and in 1936 he wrote this autobiographical novel based on those years as a student in Paris. In 1936 the threat of imminent war hung over Europe, and so even though he was writing about relatively carefree student days in Paris the tinge of the times he was experiencing in 1936 had an influence on the novel. Calling the 1920s The Last Days I think definitely indicates the state of mind of not only Queneau, but the French people in general. Monsieur Brabbant and Monsier Tolut are standing together watching it rain. They are of the older generation represented in this novel. These days there's nothing to tell you when to wear your overcoat or when to leave it off." Vincent Tuquedenne our hero and the character representing the young Raymond Queneau arrives in Paris. We are only poor unfortunate medical students, whereas he reads Saint Thomas in Latin and knows which way up to look at a cubist painting. Queneau uses their maudlin state of mind to explore what comes next. Let me tell you, monsieur, that while hell may perhaps exist heaven certainly does not exist. What if, on the other hand, my whole life...You think it exists, heaven? This novel can be read on many different levels. It has certainly inspired me to read more Raymond Queneau.
Queneau reenters the Paris of his youth, the 1920's, though the novel was written in 1936, taking us by the hand to not only relive those years with him through his protagonist but to learn past the humor of his smile, the cool distance of the nib of his pen, the chilling conclusions he reached about the reality he found around and within him. His own belief, one seemingly found through a subtraction and dimunition of options, was that he could read and study his way through his difficulties and into life, into the courage of approaching attractive women, even touch and be touched. In the cafe where he and his fellow students hang out, drink, are a threesome of older men, and a waiter, Alfred. Queneau captures his quiet protagonist, own self's, ascendancy His abilities of craft, a subtle precision unfolding over time builds our confidence, suspending our disbelief. I can see how through the reading community this would be a 5 star book. So, I take 1 star off due to my personal preference. I'm interested in reading more Queneau. When writing about such a significant time and experience in our lives we want to get it right, have others see and feel what we did and how it felt. A turn towards the purity of fiction would more likely bring forth the mood and actual feel of the times and Queneau's experiences.
The book captures a time that won't ever come again -- a truism that applies to every moment, but this sensation is particularly acute to its two groups of characters, an assortment of young students and elderly people. This heightened awareness of endings animates the characters as they weave through each others' lives, bent on avoiding studies, chasing girls, concocting swindles, betting on horses, maiming blind people, and mostly trying to find out how to navigate the next phase of their existence.
Queneau contrasts the lives of two groups of people (this is a book of doubles, and rhymes of character and incident- I didnt make this discovery on my own through close reading, its pretty much explicitly laid out in the introduction that this is whats going on structurally and what do you know? the introduction was not wrong- this is a book about doubles and rhymes of character and incident), a group of students studying among other things philosophy and literature and history, who do more drinking and trying to get laid and pondering and wandering about the glorious topography of Paris and getting into various schemes than studying, and a group of aged men who are anticipating the embrace of the tomb and dealing with their own schemes, ambitions, regrets.
The story follows the Queneau-template Tuquedenne, a loner who cant get laid and who falls in love with ideas, and the aging hustler Brabbant, a charming desperado who likes his dames young.
The Last Days is the story of what one might call a social cohort, a group of people of varying ages who know each other to varying degrees. Some of the males are students who are trying to study for a diploma in philosophy from the École Normale Supérieure; one is an aging teacher of history; another is a con man; and there are other various hangers-on. He used to say to me: You see, the customers, theyre like a pile of dead leaves. Leaves, when theyre on the tree, if you didnt know that autumn existed you might think theyd stay there forever.
Apart from small departures into word-play this seems like Queneau driving home the nails in the casket of his childhood. Instead, we get a Chaplin-like (director's)view of the time, place and interactions that comprise a childhood, cinematographic with the ability to shine the proper light, pull the right face and dictate the pace of the story of a life with a composer's mastery of pace and tone. Pathos, humor and an absolute horror of taking yourself too seriously on full display, it's no surprise that Q describes his France as a place where Chaplin has arrived - and let the detail tell you the rest of the story.
A strange and funny book--set in Paris in the '20s and focused on a few key characters in two groups, a handful of college students (including Queneau's alter ego), and a handful of old men.
Zakoupil jsem knihu za tce vydený prachy, který mi pjila moje stará a jak to dopadlo?
*note to self: in this one, too, like The Winter of the Black Snow couple characters have a theory for the weather, the big guns of the war, the war to end all wars, world war numbered one in tis story...unlike war number two for winter of the black snow. seems like there was another story that had this same idea floating...perhaps in the winter review. a note, is all, nothing more nothing less.
The Surrealists tried to achieve a sort of pure expression from the unconscious, without mediation of the author's self-aware "persona." Queneau's texts, on the contrary, are quite deliberate products of the author's conscious mind, of his memory, and his intentionality.
Mallory Pike, #1 Fan...
Mallory lands a job as part-time assistant to her favorite children's author and discovers some troubling things abou...
Kushiel's Chosen...
Mighty Kushiel, of rod and wealLate of the brazen portalsWith blood-tipp'd dart a wound unhealedPricks the eyen of ch...
A Good Man is Hard to Find and Other Stories...
Her apocalyptic vision of life is expressed through grotesque, often comic situations in which the principal characte...
The Scarlet Letter...
Delve into The Scarlet Letter, Nathaniel Hawthorne's meditation on human alienation and its effect on the soul in thi...
Crisis of European Sciences and Transcendental Phe...
The Crisis of European Sciences and Transcendental Phenomenology, Husserl's last great work, is important both for it...
Publish Date: September 1st 1996 by Dalkey Archive Press

redpajama_set_name: RedPajamaCommonCrawl


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Low Graphics
City of Folsom
Folsom's New Cycle Tracks
The City of Folsom has installed cycle tracks on Blue Ravine Road and Leidesdorff Street. These two-way bike boulevards are known as "protected pathways" that allow cyclists to share the street safely with motorists.
The city's first cycle track is in the heart of Folsom's Historic District. This Class IV cycle track runs from the Lake Natoma Waterfront Trail to the intersection of Scott and Riley streets near the trailhead of the Johnny Cash Trail. The two-way bicycle path runs parallel to Leidesdorff Street. The majority of the 12-foot-wide paved cycle track is elevated, and the remainder is bordered with curbing to separate and protect it from vehicle traffic. Since the cycle track is intended for the exclusive use of cyclists, a new sidewalk for pedestrians was also included in the project.
Folsom's second cycle track was completed in August and parallels Blue Ravine Road between Manseau Drive and Arrowsmith Drive. It provides a connection between Elvie Perazzo Briggs Park and the surrounding neighborhoods to the Oak Parkway Trail. The two-way bicycle path is at street grade, and white plastic bollards visually mark and separate it from vehicle traffic. Bright green paint marks the cycle track at each intersection and helps to alert drivers to the possible presence of cyclists. The cycle track is intended only for bicycles; the existing adjacent sidewalk provides pedestrian access along the roadway.
Learn more about the City of Folsom's trails and bikeways.
50 Natoma Street


See all DVDs Television adaptation of Stephen King novel that follows a recovering alcoholic professor. He ends up taking a job as a winter caretaker for a remote Colorado hotel which he seeks as an opportunity to finish a piece of work. With his wife and son with him, the caretaker settles in, only to see visions of the hotel's long deceased employees and guests. With evil intentions, they manipulate him into his dark side which takes a toll on he and his family.
1 1x01 Part 1 |edit 1997-04-27 Discuss episode!
2 1x02 Part 2 |edit 1997-04-27 Discuss episode!
3 1x03 Part 3 |edit 1997-04-28 Discuss episode!
4 1x04 Part 4 |edit 1997-04-28 Discuss episode!
5 1x05 Part 5 |edit 1997-05-01 Discuss episode!
6 1x06 Part 6 |edit 1997-05-01 Discuss episode!


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Rio 2016 Olympics: Usain Bolt clinches ninth Olympic gold as Jamaica win relay – as it happened
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Usain Bolt of Jamaica on his way to winning ahead of Aska Cambridge of Japan and Trayvon Bromell of the United States – later disqualified – in the men's 4x100m relay final. Photograph: David Ramos/Getty Images
Claire Phipps, Nick Ames, Nick Miller, Simon Burnton, Luis Miguel Echegaray, Tim Hill and Richard Parkin
Sat 20 Aug 2016 01.58 EDT First published on Fri 19 Aug 2016 01.57 EDT
9.58pm EDT 21:58 USA disqualified from men's 4x100m relay final
9.44pm EDT 21:44 Jamaica win men's 4x100m relay final!
9.38pm EDT 21:38 Greece's Ekaterini Stefanidi wins women's pole vault gold!
9.29pm EDT 21:29 Tajikistan's Dilshod Nazarov wins men's hammer throw gold!
9.21pm EDT 21:21 USA win women's 4x100m relay gold!
8.56pm EDT 20:56 Kenya's Vivian Cheruiyot wins women's 5,000m final!
8.37pm EDT 20:37 Great Britain disqualified from men's 4x400m relay
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8.43pm EDT 20:43
Sean Ingle
The news that Britain's men's 4x400m relay team have just been disqualified after finishing first in their semi-finals is a huge blow for British Athletics' medal target of seven to nine.
They currently have four (Mo Farah, Jessica Ennis-Hill, Sophie, Hitchon and Greg Rutherford) but had put great stock in winning gongs in the four relays, not unreasonably, and the men's 4x400m was probably the best shot of all.
True, the Americans and Jamaicans were probably a lock for gold and silver, but Britain's team of Nigel Levine, Delano Williams, Matthew Hudson-Smith and Martyn Rooney ran well in their heat and with Rooney impressively powerful off the final bend to move from third to first, looked set to be in the mix for the final tomorrow. Not now, though.
The women's 5,000m final is under way! Almaz Ayana of Ethiopia, the favorite, going for gold.
On that disqualification, rule 170.19 of the IAAF handbook states:
"For the final takeover in the medley relay and for all takeovers in the 4x400m, 4x800m, distance medley relay and 4x1500m races, athletes are not permitted to begin running outside their takeover zones, and shall start within this zone. If an athlete does not follow this rule, his team shall be disqualified."
So I guess that was Martyn Rooney at the changeover?
Great Britain's Matthew Hudson-Smith passes the baton to Martyn Rooney. Photograph: Lucy Nicholson/Reuters
Updated at 8.50pm EDT
Great Britain disqualified from men's 4x400m relay
Big news from the track: we think it's for an infringement over where athletes can start running before the exchange zone. India have also been disqualified. We'll have more news when we get it.
The women's pole vault final is under way, and Ekaterini Stefanidi of Greece and Holly Bradshaw of Great Britain have cleared 4.70m. Americans Sandy Morris and Jenn Suhr, the reigning Olympic champion, have failed one attempt at that mark.
Thanks Luis. Yep, we'll be concentrating on track and field this evening, with the occasional result from handball, volleyball and taekwondo. Usain Bolt's 4x100m final is about 10.30pm local time.
Alright guys. It's been a pleasure. I'll leave you in the good hands of Tim Hill, Everton FC's number one summer target. Have a great evening!
Heat two: Great Britain, Belgium and Bahamas go through. Cuba make it too! T&T disqualified for a lane violation. FINAL: USA, JAMAICA, GREAT BRITAIN, BELGIUM, BOTSWANA, POLAND, BAHAMAS, CUBA.
Big news. Trinidad and Tobago have been disqualified!
SPIKES (@spikesmag)
Trinidad and Tobago DQ 😮#Rio2016 pic.twitter.com/DwsF0Mvthi
4x400 men's relay Heat two: Great Britain, India, Belgium, Brazil, Dominican Republic, Bahamas, Cuba and Venezuela.
4x400 men's relay qualified: Jamaica win it followed by USA and Trinidad and Tobago. The fourth - who will have to wait - is Botswana. Just a note: Merritt and Clement will be added to the final USA squad.
Now it's time for the men with the 4x400 relay. Heat one has Jamaica, USA, France, Colombia, Botswana, Japan, Trinidad and Tobago and Poland.
Russell Jackson
That's it from us
It was a disappointing loss for the Boomers, but they can hardly find fault with the result the way that Serbia dominated that game from the opening minute. When they weren't being pressured out of the ball, the Australians were sloppy on offence and couldn't make inroads. At the other end, led by Milos Teodosic, Serbia were just too potent on offence. Thank you all for your company and do make sure you check back in for the gold medal game, which will bit this impressive Serbian squad against the NBA superstars of Team USA. It'll be a genuine contest!
Heat two of women's 4x400m relay: Jamaica, Great Britain and Canada go through. It seems that Italy, thanks to their anchor, also make it to the final as their time was good enough. Australia also squeeze by and take that last spot!
Britain's Kelly Massey grabs the baton from Anyika Onuora. Photograph: Franck Fife/AFP/Getty Images
Serbia defeat Australia in the men's basketball semifinal
Game over! Serbia take it out - the Boomers will play for bronze
Serbia are through to the gold medal game - Australia 61-87 Serbia
And that is that. Australia have gone down by 26 points and Serbia are through to face the USA in the gold medal game. The Aussies? They'll play Spain for bronze late on Sunday night (Monday 12:30am AEST, to be precise) after they've licked their wounds from this humbling loss.
Heat one of 4x400 women's relay: USA, Ukraine and Poland go through. Australia will have to wait if their time was good enough.
Runners wait for batons to be passed in the first heat of the women's 4 x 400m relay. Photograph: Shaun Botterill/Getty Images
Here's more on Chloe Esposito's fantastic victory in modern pentathlon:
Australian Chloe Esposito clinches gold in modern pentathlon
4th quarter (5:28 remaining) - Australia 43-73 Serbia
All that's left at stake here for the Aussies is avoiding a record loss, but on current trends and the way they're shooting that might be unavoidable.
Over at Athletics, Usain Bolt is on the podium as the crowd celebrate his 200m victory last night. Pole Vault is about to get started. In about five minutes the first round of the 4x400m women's relay will also begin.
Jamaica's Usain Bolt shows off Olympic gold medal number eight. Photograph: Fabrice Coffrini/AFP/Getty Images
The second Handball semifinal is also about to kick-off (hand-off?) between Poland and Denmark. The winner plays France who won a thrilling 29-28 bout against Germany earlier today.
Men's Basketball. It's the end of the third and it's all Serbia as they lead 66-38 over Australia. A 28-point lead might be too much for the Boomers.
Lisa Ryzih from Germany won silver at the European Championships, her compatriot Martina Strutz did the same thing in 2012. New Zealand's Eliza McCartney holds her national record with 4.80m and Cuba's Yarilsley Silva was the silver medallist four years ago. This should be a good one!
Not long now until Women's Pole Vault Final begins and kicks off the first event of the evening for track and field. Here's some info regarding the finalists: USA's Jenn Suhr is the reigning Olympic and World Champion. She holds the world indoor record having cleared 5.03 meters and the American record with 4.92m. Britain's Holly Bradshaw came sixth four years ago so she is looking for redemption. Katerina Stefanidi from Greece won gold at this year's European Championships. More info on the rest of the contestants to follow.
3rd quarter (6:38 remaining) Australia 23-42 Serbia
Australians have reason to love him, but geez would it kill Matthew Dellavedova to take a run at an open three here when Andrew Bogut screens off two defenders to open up the gap? Delly just pivots around on his own before round-arming a pass. Ungainly, you'd call it. With a couple of free throws Ingles trims the lead a little.
Hey Team USA. It's World Photo Day.
U.S. Olympic Team (@TeamUSA)
We couldn't choose JUST one for #WorldPhotoDay! 🇺🇸 pic.twitter.com/qD6X4QXkJL
The second half has started between Australia and Serbia. Remember, guys, we have the game's live-blog right here:
Olympic basketball semi-final: Australia's Boomers v Serbia – live
More on Bolt. Barney Ronay on his legacy as he runs his last Olympic race. Right?
Bolt's tender Olympic goodbye the perfect ending for sprinting's greatest | Barney Ronay
What has gone wrong for the Boomers so far?
In a word, everything. They've shot terribly, making 6-29 from the field. That's abominable. They've also had no answer for Milos Teodosic at the other end, and if the Serbian star wasn't already on the radar of NBA teams before he certainly should be now. The Boomers have turned the ball over regularly and lacked anything approaching composure. It's odd. They've looked so mature and battle-ready throughout this tournament but it all fell apart in that first half. They look overawed by the occasion.
Men's basketball. The half ends for Australia, and Serbia have been excellent, leading by 21 points. It's pretty unbelievable that the Aussies have only scored 14. Everything needs to change in the third.
Serbia's Nikola Kalinc attempts a shot despite the attentions of Australia's Aron Baynes during the first half. Photograph: Jim Young/AFP/Getty Images
Back to basketball. Three minutes left in the second quarter and Australia are really struggling here, down 27-14. They need a big second half if they want some vindication against USA.
Australia sport
Rio Olympics 2016 – full events schedule
Your essential, complete guide to the Games in Rio de Janeiro, with every single event planned out for you
Rio Olympics 2016 – medal table and results in full
Follow all the latest from the Rio Games with our comprehensive results service, plus a live and updating medal table
Rio Paralympics to be downsized amid disappointing ticket sales
The Rio Paralympics is to be scaled down due to poor ticket sales and a budget shortfall, which have meant venue closures and some facilities being dismantled prematurely


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text:
Sikorsky MH-53 Pave Low je velik dvomotorni transportni vojaški helikopter, ki so ga uporabljale Ameriške letalske sile za bojno iskanje in reševanje (CSAR). MH-53 je razvit iz mornariškega helikopterja Sikorsky CH-53 Sea Stallion. USAF je septembra 2008 upokojila helikopterje MH-53 in jih nadomestila s hitrejšimi tiltrotorji CV-22B Osprey.

Pave Low je bil namenjen penetraciji na nizkih višinah globoko v sovražnikovo ozemlje, v slabem vremenu in ne glede na čas dneva. Velikokrat ga je spremljal MC-130H Combat Talon ali pa MC-130P Combat Shadow.

Tehnične specifikacije (MH-53J)

Glej tudi
 HH-3E "Jolly Green Giant"
 Sikorsky CH-53 Sea Stallion
 Sikorsky CH-53E Super Stallion
 MH-47 Chinook

Sklici in reference

Zunanje povezave

 MH-53J/M USAF fact sheet
 HH-53, MH-53J Pave Low III, and MH-53M Pave Low IV pages on GlobalSecurity.org
 "PAVE LOW dedicated into AF Armament Museum". US Air Force, 10 September 2008.

Helikopterji Sikorsky
Vojaški helikopterji

redpajama_set_name: RedPajamaWikipedia


text:
Buzz Patrol Bollywood Hollywood South Indian Movies Box Office Photos Videos Movie Reviews
Pawel Pawlikowski's Ida and its non-dramatic drama: What it means for a film style to be 'transcendental'
What is "transcendental" style of cinema? It's one of the precursors of what we call "slow cinema" today.
Baradwaj Rangan November 07, 2019 12:36:41 IST
In last week's column about Robert Bresson, I referred to Paul Schrader's 1971 book, Transcendental Style in Film: Ozu, Bresson, Dreyer. It was republished in 2018, with a new introduction titled "Rethinking Transcendental Style". A lot of what I quote here is from this introduction, and we will see it as applied in Pawel Pawlikowski's Ida (2013).
But first, what is "transcendental" style? It's one of the precursors of what we call "slow cinema" today. It is a movement away from narrative, "a way station, if you will, in the post–World War II progression from neorealism to surveillance video". By delaying edits and not moving the camera, by avoiding music cues, by not employing coverage from various angles (that a "normal" movie would mix up during the editing to heighten tension), and by heightening the mundane, there is a sense of watching real time unfold.
Schrader points to the shot of the maid striking the match in Vittorio De Sica's Umberto D. (1952). In a video, he says, "It was no longer about the activity of striking a match. It was about how long you're going to sit and watch." The maid strikes a match against the kitchen wall three times; it fails to light. She gets another match and strikes again. There is no cutting. Now, why do we "need" to see this? What do we get from seeing this stretch, as opposed to a quick cut to a lit matchstick? Here's what: Watch an image long enough and your mind goes to work. We get meditative, introspective. The question now is: What did you think about in the time it took while the maid was attempting to light the match? A transcendental guide or guru or filmmaker seeks to escort the respondent to another level of consciousness.
The transcendental style creates a sense of unease the viewer must resolve — because unlike the director of a narrative film, the transcendental filmmaker isn't interested in merely spelling out a story for you (though there's certainly nothing wrong with that, and that's what 99% of film viewers want when they go to watch a movie). Traditional film techniques are about "getting there" — telling a story, explaining an action, evoking an emotion — whereas the long take (i.e., without cuts) is about "being there." It is the very manifestation of time. Tarkovsky wrote in Sculpting in Time, "Just as a quivering reed can tell you about the current or water pressure of a river, in the same way we know the movement of time as it flows through the shot."
Back when Schrader wrote Transcendental Style in Film, the films of Bresson and Ozu were seen as esoteric and slow, but today, they are positively audience-friendly when compared with the epics of Béla Tarr (Sátántangó runs 7 hours, 12 minutes), Lav Diaz (A Lullaby to the Sorrowful Mystery runs 8 hours, 5 minutes) and Pedro Costa (In Vanda's Room runs a "mere" 2 hours, 59 minutes). In the Bresson/Ozu era, the "slow film" was still an art-house theatre experience. Today's slow cinema is mostly restricted to film festivals and art galleries — but Ida is a compact film (just 82 minutes) with a compact budget ($2.6 million), and it grossed $15.3 million worldwide, making it a rare theatrical success for this kind of cinema, whether you want to call it "slow" or "transcendental" or just… "boring" (though in Schrader's eyes, "boredom" in these films is an aesthetic device).
A still from Pawel Pawlikowski's Ida.
At first, I wondered why Schrader chose to include Ida in his list — because it seems more of an "art film" than something you'd categorise as transcendental/slow. For one, boredom is certainly not an option — so artfully composed are the shots. If nothing else, you can just keep staring at the film with a dropped jaw. Plus, there is a solid plot, set in 1960s Poland. Ida, brought up in a convent, is about to take her vows as a nun — but her prioress encourages her to first visit her aunt. Thereon emerges a tale that harks back to the Holocaust. Ida finds out about her roots, what happened to her family. She tastes her first cigarette. She finds herself drawn to an alto saxophone player. All of this is a far cry from, say, Sátántangó, whose opening stretch is some nine minutes of a herd of cows pottering about the mud outside a barn.
But slowly, you see the transcendence. You see the "dead time" in the scene where Ida binds a suitcase with rope, or when a woman slathers cold butter on her bread (and then adds sugar) — these scenes add no discernable "meaning" to either plot or characterisation, and there's even an echo of the match-striking maid from Umberto D., when a woman attempts to light her cigarette. You see how the dramatic (in plot) is rendered as undramatically as possible (in execution) — in a suicide, in a car that's driven off the road by a drunk driver, in a scene where the ground is dug up to yield skulls of one's family. You see Ida and her sax player saying goodbye, but behind closed glass doors, so you don't hear what they are saying to each other.
Maybe the point is that everything they could possibly be saying to each other has already been said, so why bother. "I despise stories," Béla Tarr said. "They mislead people into believing something has happened. In fact, nothing really happens as we flee from one condition to another." That's what Ida does: she flees from one condition to another, and in what could be a metaphor for the film itself, she wanders off during a crucial revelation. We are denied the dramatic details of this revelation as we follow Ida into a… muddy barn, where she finds a cow. It's only at the end that we get a burst of "cinematic" emotion. We get background music. We get a long tracking shot. All the austerity thus far — the stillness, the silence — makes this cinematic stretch stand out all the more. It's like a reward for penance. It feels transcendent.
Baradwaj Rangan is Editor, Film Companion (South).
Baradwaj Rangan
Baradwaj Rangan Column
Pawel Pawlikowski's Ida


Canon PIXMA MP280 Driver Download – At the rear of the right-hand side panel is a single USB outlet, which is the only information link to the maker. As soon as you've set up the software, which is rather painless from the provided CD, you connect in a USB cable television as well as port in both ink cartridges, prior to you start making use of the machine. The cartridges are just what Canon calls a hybrid system, because the black cartridge utilizes pigmented ink, for denser, quicker-drying message web pages, while the tri-colour cartridge utilizes color inks for brighter colours in images.


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Cameroon U20
Cameroon U20 Squad
FIFA Under-20 World Cup
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U-20 World Cup News
Young forward Dylan Wenzel-Halls has come off the bench to score the only goal of the game as Brisbane Roar defeated Wellington Phoenix 1-0 in the A-League.
Fresh off their first bye of the A-League season, Western United will enter their clash with Central Coast Mariners confident of breaking their winless run.
Glory out to heap more pain on Wanderers
Perth Glory are aiming for a club record six straight A-League wins when they play Western Sydney Wanderers.
Salvachua's Victory face packed schedule
A bumper schedule has made manager Carlos Salvachua's task of salvaging Melbourne Victory's A-League season extremely tough
Verbeek satisfied with Reds after victory
Adelaide United coach Gertjan Verbeek praised his players after Friday's 1-0 win over Melbourne Victory ended a run of four straight losses.
Reds beat Victory to end A-L losing streak
Adelaide United ended its four-game A-League losing streak with a 1-0 over Melbourne Victory on home soil.
Spanish recruit can spark City: Mombaerts
Melbourne City recruit Markel Susaeta made more than 500 appearances for Athletic Bilbao and Erick Mombaerts is confident he can make an impact in the A-League.
McDonald set to make Roar A-League switch
Scott McDonald's switch from A-League expansion club Western United to Brisbane Roar looks a done deal, with the ex-Socceroo telling a newspaper the move is on.
Red-hot Phoenix an A-League test for Roar
Brisbane Roar coach Robbie Fowler admits his team faces an A-League test this Saturday when they host Ufuk Talay's high-flying Wellington Phoenix.
Wanderers release marquee striker Meier
Western Sydney Wanderers have confirmed they have released marquee striker Alex Meier from his A-League contract.
All U-20 World Cup News


21st Century Schizoid Man by KIng Crimson. Filmed in Japan December 2015.
An album and DVD from the 2015 tour, Radical Action to Unseat the Hold of Monkey Mind, can be purchased from https://www.dgmlive.com as well as audio downloads from the recent 2016 tour and updates on all things Crimson.


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Veteran Indian actress Tabassum dies at 78
The Newspaper's Correspondent Published November 20, 2022
NEW DELHI: Veteran movie actor Tabassum, known for her work as a child artiste in several Hindi classics and also as host of popular TV talk show Phool Khile Hain Gulshan Gulshan, has died after suffering a cardiac arrest, her son Hoshang Govil said on Saturday. She was 78.
Mr Govil said his mother had been admitted to a hospital here for the past few days. On Friday, she suffered two cardiac attacks and passed away the night."
Few days ago, she was admitted to a hospital. She had gastro problem and we went there for check-up.
She suffered two cardiac attacks at 8.40pm and 8.42pm. She passed away peacefully on Friday night," Mr Hoshang told Press Trust of Inda.
Born in 1944 in Mumbai to Ayodhyanath Sachdev and Asghari Begum, Tabassum started her career as a child artiste with the 1947 movie Nargis. At that time, she was known in the industry as 'Baby Tabassum' and went to feature in many other movies such as Mera Suhaag (1947), Manjhdhar (1947) and Bari Behen (1949).
In the 1950s, Tabassum acted in movies such as Sargam, Sangram, Deedar, and Baiju Bawra.
She also had a minor role in the 1960 historical epic Mughal-e-Azam, starring Prithviraj Kapoor, Dilip Kumar and Madhubala. After a few more films, Tabassum took up the job of the host of Phool Khile Hain Gulshan Gulshan, which was Indian television's first talk show. She emceed the show from 1972 to 1993 during which she interviewed big stars of the Indian film industry. During her time as the host of Phool Khile Hain Gulshan Gulshan, Tabassum continued to feature in films, though sporadically.
She made her directorial debut with 1985 feature Tum Par Hum Qurban. Her last film was Rajesh Khanna and Govinda-starrer Swarg in 1990 in which she made a guest appearance as herself.
In the 2000s, she appeared in daily soap Pyaar Ke Do Naam: Ek Raadha, Ek Shyaam.
Keeping up with the changing world, she launched her own channel on YouTube, called Tabassum Talkies with son Hoshang where the veteran actor used to discuss the lives of many cinema figures and movies of the bygone era.
In 2021, Tabassum spent 10 days in hospital after contracting Covid-19.
Tabassum is survived by her husband Vijay Govil, the elder brother of veteran TV star Arun Govil, and son Hoshang.
Torrential rains lash Auckland; Elton John concert cancelled
India detains students for screening Modi documentary
US sanctions Chinese firm helping Russian mercenary group


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Home Sustainability
Wabtec Releases 2020 Sustainability Report
Image: India CSR
Pittsburgh, PA: Wabtec Corporation (NYSE: WAB) released its 2020 Sustainability Report, which highlights the company's accomplishments and commitments to building a more sustainable future by developing innovative technologies, driving responsible operations, and empowering people and communities around the globe. The report can be found here.
"Wabtec's position as a global transportation leader gives us a unique perspective on the trends that are impacting our customers and other stakeholders, namely: climate change, automation and digitization, and urbanization," said Rafael Santana, President, and CEO of Wabtec. "Our 2020 Sustainability Report outlines a series of aggressive goals to address those trends, improve our performance on global environmental, social, and governance matters, and drive a better future for people and the planet."
The report also shares notable actions taken across the company to advance its sustainability strategy. Highlights include:
In 2020, Wabtec developed the world's first 100-percent, heavy-haul battery locomotive battery electric locomotive. The FLXdrive™ locomotive features an overall train energy management system, including approximately 20,000 battery cells that can reduce train fuel usage and emissions by 10 to 30 percent.
The company hit a key milestone with Trip Optimizer™, an intelligent cruise control system for trains, that is EPA-certified and reduces locomotive emissions by roughly 10 percent. In 2020, the company installed Trip Optimizer on its 11,000th locomotive, saving 400 million gallons of fuel overall and reducing carbon emissions by over 500,000 tons per year – the equivalent of removing 100,000 cars from the road.
The company introduced Metroflexx – the most advanced mass transit brake control. Metroflexx significantly reduces brake system weight, energy consumption, lifecycle cost, and braking distance. It was also designed with sustainability in mind – 95 percent of the system's parts can be recycled at end of life.
Through the use of additive technologies, the company produced over 1,250 additive prototypes last year and was the first rail supplier to introduce metallic 3D printed parts in production on rolling stock in North America. Wabtec plans to use additive manufacturing to produce over 25,000 parts by 2025.
Building on its foundation of health and safety, the company marked the 12th consecutive year of injury rate reductions across its global operations.
Wabtec opened its doors to a new German Sustainable Building Council (DGNB) Gold-certified property in Bochum, Germany with sustainability and efficiency features that create a net reduction of 500 tons of CO2 per year. It also opened its new Engineering and Technology Center in Bengaluru, India — a LEED Platinum-certified building that has incorporated features that positively impact human health and wellness.
The company continued to drive a diverse culture that invests in training and development. At Wabtec's locomotive facility in India, more than 70 percent of the workforce was recruited from the surrounding communities and underwent a two-year training program to develop technical knowledge and skills, and more than 25 percent of the local workforce is female.
"On almost every continent we are demonstrating the power of what Wabtec can do when we work together to achieve a common purpose," Santana added. "By focusing on sustainability and accountability, and with an incredible team behind us, I'm confident we will achieve our goals and build a bigger, stronger Wabtec well-positioned to move and improve the world."
Tags: Sustainability ReportingWabtec Corporation
Tata Motors receives 98 patents in 2020


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Tony Ianzelo    (born June 13, 1935) is a Canadian documentary director and cinematographer.

Career
Ianzelo was born in Toronto, Ontario, and attended Toronto's Ryerson Institute of Technology. His career at the National Film Board of Canada was characterized by an empathic portrayal of his subjects, and he gained a reputation for compassion and honesty through sensitive films and unobtrusive cinematography.

He joined the NFB in 1960 as a camera assistant and, in 1966, made his first film, Antonio. This short piece, which uses his own father as a subject to explore the themes of family, immigration and alienation, was shown in schools and institutions for three decades after its release. A prolific and innovative artist, he retired in the late 1990s with over one hundred film credits.

Best known for his quiet empathy and unobtrusive camera-work, he worked with the NFB program Challenge for Change, where he used his skills on such films as Cree Hunters of Mistassini with Boyce Richardson, and other projects in Canada's Far North. In 1986, with Colin Low, he co-directed Transitions, the first-ever 3D IMAX film, which premiered at Expo 86 in Vancouver.

Ianzelo was one of the first cinematographers to become a member of the Royal Canadian Academy of Arts, and received numerous awards and commendations, including the 1975 BAFTA Award for Best Documentary (for Cree Hunters of Mistassini) and two Academy Award nominations (for Blackwood in 1976 and High Grass Circus in 1977). In 2004, in recognition of his lifetime contribution to documentary cinema, he was invested as Member of the Order of Canada

Filmography
(All for the National Film Board of Canada)

Antonio - documentary short 1966 - director, cinematographer, editor
The Ever-Changing Lowlands - documentary short 1966 - director, cinematographer
All Systems Go - documentary short, Richard Gilbert 1966 - cinematographer
The Long Haul Men - documentary short, Richard Gilbert 1966 - cinematographer
Canada and the American Revolution: 1763-1783 - documentary, Ronald Dick and Pierre L'Amare 1967 - cinematographer
The Accessible Arctic - documentary short, David Bairstow 1967 - cinematographer
Inmate Training - training film, Peter Pearson 1967 - cinematographer
A Question of Priority - training film, Peter Pearson 1967 - cinematographer
Chain of Command - training film, Peter Pearson 1967 - cinematographer
Compassionate Leave? - training film, Peter Pearson 1967 - cinematographer
The Tactless One - training film, Peter Pearson 1967 - cinematographer
The Defaulter - training film, Peter Pearson 1967 - cinematographer
Impressions of Expo '67 - documentary short, William Brind 1967 - cinematographer
Isotopes in Action - documentary short, Kenneth McCready 1967 - cinematographer
The North Has Changed - documentary short, David Bairstow 1967 - cinematographer
We're Gonna Have Recess - documentary short, Michael J.F. Scott 1967 - cinematographer
New England and New France: 1490-1763 - documentary, Ronald Dick and Pierre L'Amare 1967 - cinematographer
Oskee Wee Wee - documentary short, William Pettigrew 1968 - cinematographer
Saul Alinksy Went to War - documentary, Peter Pearson and Donald Brittain 1968 - cinematographer
Cosmic Zoom - documentary short, Robert Verrall 1968 - cinematographer
Flight in White - documentary short, William Canning 1968 - cinematographer
The New Equation: Annexationism and Reciprocity: 1840-1860 - documentary, Ronald Dick and Pierre L'Amare 1968 - cinematographer
Dangerous Decades: 1818-1846 - documentary, Ronald Dick and Pierre L'Amare 1968 - cinematographer
People and Power - documentary short, Bonnie Sherr Klein and Peter Pearson 1968 - cinematographer
Building an Organization - documentary short, Bonnie Sherr Klein and Peter Pearson 1968 - cinematographer
A Continuing Responsibility - documentary short, Bonnie Sherr Klein 1968 - cinematographer
Deciding to Organize - documentary short, Bonnie Sherr Klein and Peter Pearson 1968 - cinematographer
Through Conflict to Negotiation - documentary, Bonnie Sherr Klein and Peter Pearson 1968 - cinematographer
They're Putting Us Off the Map - documentary short, Michael J.F. Scott  1968 - cinematographer
Mrs. Ryan's Drama Class - documentary short, Michael Rubbo 1969 - cinematographer
The Dowry - short film, Peter Pearson 1969 - cinematographer
Altitude Zero to Infinity - documentary short, Richard Gilbert 1969 - cinematographer
Bing Bang Boom - documentary short, Joan Henson 1969 - cinematographer
You Are on Indian Land - documentary short, Mike Kanentakeron Mitchell 1969 - cinematographer
The Best Damn Fiddler from Calabogie to Kaladar - documentary, Peter Pearson 1969 - cinematographer
The War of 1812: Causes and Consequences: 1783-1818 - documentary, Ronald Dick and Pierre L'Amare 1967 - cinematographer
The Friendly 50s and the Sinister Sixties: 1850-1863 - documentary, Ronald Dick and Pierre L'Amare 1969 - cinematographer
The Triumphant Union and the Canadian Confederation: 1863-1867 - documentary, Ronald Dick and Pierre L'Amare 1969 - cinematographer
The Border Confirmed: The Treaty of Washington: 1867-1871 - documentary, Ronald Dick and Pierre L'Amare 1969 - cinematographer
A Second Transcontinental Nation: 1872 - documentary, Ronald Dick and Pierre L'Amare 1969 - cinematographer
Go With Us - documentary short, William Canning 1970 - cinematographer
Freud: The Hidden Nature of Man - documentary short (non-NFB), George Kaczender  1970 - cinematographer
Don't Knock the Ox - documentary short 1970 - director, cinematographer
Fort Who? - documentary short, William Brind 1970 - cinematographer
Here's to Harry's Grandfather - documentary, Michael Rubbo 1970 - cinematographer
Tee-Won Short - documentary short, Michael J.F. Scott 1970 - cinematographer
That's the Price - documentary, Michael J.F. Scott 1970 - cinematographer
Temples of Time - documentary, William Canning 1971 - cinematographer
The Unplanned - documentary short, Andy Thomson 1971 - cinematographer
Angus - documentary short, Andy Thomson and Michael J.F. Scott 1971 - cinematographer
Don Messer - His Land and His Music - documentary, Martin Defalco 1971 - cinematographer
En Garde - documentary short, William Canning 1971 - cinematographer
God Help the Man Who Would Part with His Land - documentary short, George C. Stoney 1971 - cinematographer
Here is Canada - documentary short 1972 - director, cinematographer
A Bus - For Us - documentary short, Rex Tasker 1972 - cinematographer
Goodbye Sousa - documentary short 1973 - director, cinematographer
Our Land is Our Life - documentary 1974 - cinematographer and, with Boyce Richardson, director
Bate's Car: Sweet as a Nut - documentary short 1974 - director, cinematographer
Cree Hunters of Mistassini - documentary 1974 - cinematographer and, with Boyce Richardson, director
Ready When You Are - documentary short, John N. Smith and Douglas Kiefer 1975 - cinematographer
Bill Loosely's Heat Pump - documentary short, Kenneth McCready 1975 - cinematographer
Cold Journey - feature, Martin Defalco 1975 - cinematographer
Alberta Girls - documentary 1975 - cinematographer, editor and, with Malca Gillson, director
Musicanada - documentary short 1975 - cinematographer and, with Malca Gillson, director
Blackwood - documentary short 1976 - director, cinematographer
High Grass Circus - documentary short 1976 - cinematographer and, with Torben Schioler, director
Striker - documentary short, Robert Nichol 1976 - cinematographer
The Whales Are Waiting - documentary short 1976 - cinematographer and, with Strowen Robertson and Andy Thomson, director
Cree Way - documentary short 1977 - director, cinematographer
Little Big Top - documentary short 1977 - cinematographer, editor and, with Torben Schioler, director
Games of the XXI Olympiad - documentary, Jean-Claude Labrecque, Jean Beaudin, Marcel Carrière and Georges Dufaux 1977
The Mighty Steam Calliope - documentary short 1978 - cinematographer and director
Viking Visitors to North America - documentary short 1979 - cinematographer and, with Anthony Kent, director
Canada Vignettes: Don Messer - His Land and His Music - Don Messer 1910-1973 - documentary short, Martin Defalco 1979 - cinematographer
Canada Vignettes: Don Messer - His Land and His Music - Charlie Chamberlain 1911-1972, Marg Osburne 1927-1977 - documentary short, Martin Defalco 1979 - cinematographer
Canada Vignettes: Don Messer - His Land and His Music - Charlie Chamberlain 1911-1972 - two documentary shorts, Martin Defalco 1979 - cinematographer
Canada Vignettes: Don Messer - His Land and His Music - Marg Osburne 1927-1977 - two documentary shorts, Martin Defalco 1979 - cinematographer
Canada Vignettes: Cree Hunters - documentary short 1979 - director, cinematographer
Canada Vignettes: Breadmakers - documentary short 1980 - director, cinematographer
Canada Vignettes: Calliope - documentary short 1980 - director, cinematographer
China: A Land Transformed - documentary short 1980 - cinematographer and, with Boyce Richardson, director
North China Commune - documentary 1980 - cinematographer and, with Boyce Richardson, director
North China Factory - documentary 1980 - cinematographer and, with Boyce Richardson, director
Wuxing People's Commune - documentary 1980 - cinematographer and, with Boyce Richardson, director
Canada Vignettes: Celebration - documentary short 1981 - director, cinematographer
In Search of Farley Mowat - documentary, William Brind 1981 - cinematographer
Gala - documentary, John N. Smith and Michael McKennirey 1982 - cinematographer
The Concert Man - documentary short 1982 - director, cinematographer
Learning Ringette - documentary short 1982 - cinematographer and, with Bill Graziadei, director
Singing: A Joy in Any Language - documentary 1983 - cinematographer and, with Malca Gillson,  director
Musical Magic: Gilbert and Sullivan in Stratford - documentary, Malca Gillson 1984 - cinematographer
From Ashes to Forest - documentary 1984 - director, cinematographer
Max Ward - documentary, William Canning 1984 - cinematographer
Overtime - documentary, Marrin Canell 1984 - cinematographer
Transitions - documentary short 1986 - director, with Colin Low
Making Transitions - documentary short 1986 - director
Feeding and Clothing China's Millions - documentary short, Dennis Sawyer 1986 - cinematographer
School in the Bush - documentary short, Dennis Sawyer 1986 - cinematographer
Give Me Your Answer True - documentary 1987 - director, with Stefan Wodoslawsky
Tiger Emperor - documentary short 1988 - director
Emergency - documentary short 1988 - director, with Colin Low
The First Emperor of China - documentary 1989 - director, with Liu Hao Xue
Momentum - documentary short 1992 - director, with Colin Low
The Art of the Animator - documentary series 1993 - director, cinematographer
Eldon Rathburn: They Shoot... He Scores - documentary short, Louis Hone 1995 - cinematographer
Making Momentum - documentary short 1996 - director, with Colin Low
Louisbourg Under Siege - documentary, Albert Kish 1997 - cinematographer
Postcards from Canada - documentary 2000 - director, cinematographer

Awards
Cosmic Zoom (1968)
Berlin International Film Festival – UNIATEC Award of Excellence, 1972
The Best Damn Fiddler from Calabogie to Kaladar (1969)
 21st Canadian Film Awards, Toronto: Genie Award for Best Black and White Cinematography, 1969
Don't Knock the Ox (1970)
Canadian Film Awards, Toronto – Genie Award for Best Theatrical Short Film, 1971
Film Critics and Journalists Association of Ceylon, Sri Lanka – Certificate of Merit, 1971
Here is Canada (1972)
Festival of Tourist and Folklore Films, Brussels - Award of the Ministry of National Education, 1973
Golden Gate Awards Competition & International Film Festival, San Francisco – Special Jury Award, 1973
Goodbye Sousa (1973)
Canadian Film Awards, Montreal – Genie Award for Best Theatrical Short Film, 1973
Cree Hunters of Mistassini (1974)
BAFTA (British Academy Film Awards), London – BAFTA Award for Best Documentary (Robert Flaherty Award), 1975
Canadian Film Awards, Niagara-on-the-Lake, ON - Genie Award for Best Documentary, 1975
Melbourne Film Festival – Silver Boomerang, Best film made specifically for TV, 1975
Bate's Car: Sweet as a Nut (1974)
Biofest, Novi Sad, Yugoslavia – Award of Excellence, 1975
Musicanada (1975)
Golden Gate Awards Competition & International Film Festival, San Francisco – Special Jury Award, 1976
Blackwood (1976)
 Festival international du film sur l'art, Paris: Grand Prize for the Quality of the Image, 1977
 Festival of Tourist and Folklore Films, Brussels: Prize of the Principality of Monaco for the Best Film Evocating the Past of a Region by the Means of Art, 1977
 Yorkton Film Festival, Yorkton, Saskatchewan: Golden Sheaf Award, Best Short Film, 1977
 49th Academy Awards, Los Angeles: Nominee, Best Documentary Short Subject, 1977
High Grass Circus (1976)
Yorkton Film Festival, Yorkton, Saskatchewan - Golden Sheaf Award for Best Film of the Festival, 1977
Film Advisory Board, Los Angeles - Award of Excellence, 1978
50th Academy Awards, Los Angeles – Nominee, Best Documentary Feature
North China Commune (1980)
Columbus International Film & Animation Festival, Columbus, Ohio - Chris Bronze Plaque, Social Studies, 1980
From Ashes to Forest (1984)
International Green Film Week, Berlin - Bronze Ear of Corn Award, Environment, 1986
Momentum (1992)
FIAFest: Festival Internacional Audiovisual, Seville - Award for the Technical Quality of the Image, 1992
The Art of the Animator (1993)
National Educational Media Network Competition, Oakland, California – Golden Apple Award, Arts, 1995

References

External links

 Watch films by Tony Ianzelo at NFB.ca

1935 births
Living people
Best Cinematography Genie and Canadian Screen Award winners
Canadian cinematographers
Canadian documentary film directors
Canadian people of Italian descent
Directors of Genie and Canadian Screen Award winners for Best Documentary Film
Film directors from Toronto
Members of the Order of Canada
Members of the Royal Canadian Academy of Arts
National Film Board of Canada people
Toronto Metropolitan University alumni


text:
package com.mcxiaoke.next.ui.layout;

import android.annotation.TargetApi;
import android.content.Context;
import android.os.Build;
import android.util.AttributeSet;
import android.widget.FrameLayout;

/**
 * User: mcxiaoke
 * Date: 14-2-21
 * Time: 14:10
 */
public class SquaredFrameLayout extends FrameLayout {

    public SquaredFrameLayout(Context context) {
        super(context);
    }

    public SquaredFrameLayout(Context context, AttributeSet attrs) {
        super(context, attrs);
    }

    @TargetApi(Build.VERSION_CODES.HONEYCOMB)
    public SquaredFrameLayout(Context context, AttributeSet attrs, int defStyle) {
        super(context, attrs, defStyle);
    }

    @Override
    protected void onMeasure(int widthMeasureSpec, int heightMeasureSpec) {
        int finalMeasureSpec = Utils.getSquaredMeasureSpec(this, widthMeasureSpec, heightMeasureSpec);
        super.onMeasure(finalMeasureSpec, finalMeasureSpec);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Posted on 9th July 2019 9th July 2019 by Lucy Havard | Leave a comment
It is just over 50 years since the 1967 Abortion Act was passed. It therefore seems fitting to examine the history of abortion and consider how this practice has changed over time, from antiquity to the twentieth century. This blog uses evidence from ancient treatises and excerpts from a collection of personal accounts from the mid-twentieth century published by Marie Stopes International (see further reading). It argues that despite the transcendence of two millennia, there was little change in abortion practices as a result of the secretive and stigmatised nature of the act.
Physical exertion
Physical exertion was a traditional method used to try and induce an abortion. Although only successful in the most extreme of cases, it was a commonly held belief in antiquity that prevailed until the mid-twentieth century. The ancient Hippocratic Corpus describes the 'Lacedaemonian Leap' which involved jumping up and down, touching one's buttocks with the heels at each leap, to try and induce a miscarriage.
This belief in the abortive properties of physical exertion is also evident in personal accounts from the mid-twentieth century. 'Alice' fell pregnant at just 16 in 1963. She describes how ashamed her parents were when they found out, and how her father physically abused her to try and achieve this aim: 'We lived in a house in Clifton, which had very steep stairs. My dad was there and he literally punched me in the stomach and then pushed me down the stairs'.
Oral methods
A wide variety of oral abortifacients were employed in antiquity. These ranged from a concoction of common herbs and plants that could be grown in one's own garden, to exotic substances more difficult to obtain. The popularity of purging oral substances, both diuretics and laxatives, for the purposes of abortion is evident in Soranus' Gynaecology.
Returning to the case of sixteen-year-old 'Alice', she describes how she came home from school one day 'to find this strange concoction brewing in the kitchen. It was a natural laxative my mother said. They thought it would bring on a miscarriage'. On another occasion, Alice reports that her father 'produced some little black pills and told me to take them'.
An abortion method combining both physical and oral elements is found in the commonly held belief in the efficacy of hot baths and alcohol. This is particularly advocated by Soranus in the ancient period, who advises 'lingering in the baths and drinking first a little wine and living on pungent food' in order to induce an abortion.
Such methods are also evident in the mid-twentieth century. When 'Isa' was denied a recommendation for a termination in 1962, she describes 'getting blind drunk on gin and taking hot baths and God knows what else'.
Douching methods
Douching was a popular abortion method in the mid-twentieth century. 'Jane' recounts her two experiences of backstreet abortion in the 1950s: 'Both were done in the same way, by different backstreet abortionists, using a douche, Lux and Dettol'.
Interestingly, there is in fact evidence for the use of douching devices in antiquity, especially in Hippocratic times. However, douching tended to be used to promote conception, rather than to prevent or terminate a pregnancy. For example, Hippocrates' Diseases of Women advises a solution of 'mare's milk' to be injected into the womb using a douching device to help treat an ulcerated uterus that is preventing successful conception.
Surgical methods
Surgical methods were recognised as the most dangerous means of abortion in antiquity, and were only resorted to in the most desperate circumstances, typically when the fetus was fairly well-developed and other methods had failed. Celsus, writing in the first century AD, described the technique of surgical removal as 'reckoned amongst the most difficult: for it both requires the highest prudence and tenderness, and is attended with the greatest danger'.
However, there is clear evidence to suggest that these procedures did occur. Celsus is particularly detailed in his medical account of the surgical removal of an already dead fetus that had not been intentionally aborted:
…if the head is nearest, a hook should be introduced, in every part smooth, with a short point, which is properly fixed either in the eye, or the ear, or the mouth sometimes even in the forehead; and then begin drawn outwards, brings away the child.
There is an argument that such instruments were only used in cases where the fetus had already expired and not as a means of procuring abortion. However, references to the instrument known as embruosphaktes (literally: 'embryo-slayer'), suggests otherwise.
There is similar evidence for instrumental methods used in the mid-twentieth century. Again, it is generally accepted that such intervention would be resorted to only when other less invasive methods had failed. Given the potential for physical harm this is hardly surprising. 'June' shares her memories of backstreet abortion in 1959: 'I knew that women had been damaged severely from abortions going wrong. Knitting needles. We'd all heard stories about knitting needles and coat hangers'.
The 'crochet hook' was another popular instrument used in attempted abortion, easily obtainable and a common household item like the knitting needle and the coat hanger. The similarities between the description of the hook-like instrument from antiquity and the mid-twentieth century crochet hook depicted below are striking:
Image 1: Crochet hook – a hooked instrument for removing an aborted fetus. Wellcome Images.
This blog has drawn attention to the significant parallels existing between abortion practices of antiquity and those of the mid-twentieth century, prior to the introduction of the 1967 Abortion Act. I suggest that it was the stigmatised culture of abortion that led to this stagnation in abortion practices.
Soo Brookstone (Ed), Voices for Choice(London: Marie Stopes International, 1997).
Aulus Cornelius Celsus, Cornelius Celsus of medicine. In eight books. Translated by James Greive, (London, 1756).
Hippocrates, Hippocratic Writings, edited by G.E.R. Lloyd, (London: Penguin Books, 1983).
Soranus, Gynaecology, translated with an introduction by Owsei Temkin, (Baltimore: John Hopkins University Press, 1991).
Konstantinos Kapparis, Abortion in the Ancient World, (London: Duckworth Publishers, 2002)
John Riddle, Contraception and abortion from the ancient world to the Renaissance, (United States of America: Harvard University Press, 1992).
Lucy Havard
Posted on 8th June 2019 8th June 2019 by Lucy Havard | Leave a comment
There is no doubt that war brings death and destruction, but it can also be a catalyst for medical advances. This is clearly demonstrated by the Great War and the developments made in plastic surgery. This blog is focused particularly on the work of Harold Gillies, a New Zealander who worked in Britain during the early twentieth century, and who headed pioneering research and practice in the field of plastic surgery.
The use of Maxim's machine gun and the shrapnel from exploding shells in the Great War led to horrendous injuries and deformities of the soldiers who faced them. Such injuries often left soldiers disfigured and challenged their ability to function, especially when involving the loss of limbs.
Harold Delf Gilles. Credit: Science Museum, London.
Harold Gillies trained as a doctor at Cambridge University and went on to become a surgeon. He served in the Great War and experienced first-hand the terrible injuries suffered by the soldiers that he fought alongside. He understood not only how life-threatening these injuries could be but also the great psychological impact suffered by soldiers who could sometimes no longer recognise themselves in the mirror. Gillies became particularly interested in the surgery performed to repair injuries of the jaw and face, in order to try and reconstruct as much as possible the soldiers' previous appearance. He paid particular attention not only to functionality, but also to aesthetics.
Gillies set up a hospital in Aldershot in 1915 which later moved to Sidcup in Kent. He treated many soldiers who had fought in the Battle of the Somme – one of the bloodiest battles of the Great War. Gillies is often referred to as the 'father of plastic surgery' and he pioneered novel techniques such as the 'pedicle tube' which enabled the grafting of healthy skin to areas of the body destroyed by the trauma of battle. Some of Gillies' work can be seen in a book that he published in 1920 entitled 'Plastic Surgery of the Face', shown below:
Wellcome Images CC BY Credit: Science Museum, London
Harold Gillies laid the foundations for modern plastic surgery. His work helped thousands of soldiers who survived the War in living as normal a life as possible. After Gillies' death, the American Society of Plastic and Reconstructive Surgery wrote the following which accurately describes his legacy:
The ideas engendered by his fertile brain have spread and are being spread afar, and generations of plastic surgeons will be affected by what he gave forth to the world. His memory may perish but his influence is immortal.
National Army Museum, 'The Birth of Plastic Surgery.' Accessed 7 June 2019. https://www.nam.ac.uk/explore/birth-plastic-surgery.
Oxford Dictionary of National Biography, 'Gillies, Sir Harold Delf (1882-1960).' Accessed 7 June 2019. https://www.oxforddnb.com/
Posted on 12th May 2019 12th May 2019 by Lucy Havard | Leave a comment
This blog is all about the Worshipful Society of Apothecaries and their recent 3-day history of medicine course which ran from 1st-3rdMay. This fascinating course comprised a series of interesting lectures, spanning the history of medicine over two thousand years in Europe and beyond.
Image 1: Worshipful Society of Apothecaries Coat of Arms
The Worshipful Society of Apothecaries is quite simply an historical gem nestled in central London, a stone's throw from St Paul's Cathedral. Like many of the other London livery companies, the Society of Apothecaries looks rather unassuming from the street. But, walk into the courtyard, and then through the main entrance up a beautiful seventeenth-century staircase into the court room or parlour, and prepare to be met by gorgeous wood paneling, impressive life-size portraits of various Society benefactors and lots of rhinos – the Society's emblem for over 400 years! The origins of the Grocers and Apothecaries of London can be traced back to 1180. In 1617, the Apothecaries separated from the Grocers to form the Worshipful Society of Apothecaries of London.
Image 2: The Court Room
The delegates that were attending the course were of varying backgrounds – medical students, practising doctors, pharmacists, historians, nurses, museum curators and those with a general interest in the history of medicine. Such an eclectic group of people made for probing questions and stimulating discussion at the end of each lecture.
The talks during the course covered a broad range of themes and topics – there really was something for everyone! Day one featured art and surgery, the history of the coroner, the founding of voluntary hospitals and disease and medicine in ancient Egypt. Day two brought talks focused on medicine in Scotland and Japan as well as women in medicine and a broad overview of Britain and world medicine. On the final day, we were treated to the history of pharmacy, the history of X-rays and a talk on the archaeological findings from Salisbury Plain as well as a general overview of the history of clinical medicine. All in all, a satisfying and fulfilling course that provided a comprehensive overview of the history of medicine.
Anyone interested in attending the History of Medicine course or applying for the Diploma in the History of Medicine (DHMSA) at the Worshipful Society of Apothecaries should consult the following website for the most up-to-date information:
https://www.apothecaries.org/diploma-in-the-history-of-medicine/
Image 3: Dürer's Rhinoceros – emblem of the Worshipful Society of Apothecaries
Lucy Havard.
Posted on 3rd May 2019 3rd May 2019 by Lucy Havard | Leave a comment
How were poor crippled children treated in England during the late 19th and early 20th centuries before the advent of free healthcare through the NHS and the Welfare State?
A group of Northampton children – all very keen on medical history – believe that if medical history is to be truly relevant it must live. So one day, while happening to sit in an outpatient clinic they decided to answer the above question using the extensive historical archive held at Northampton General Hospital. They give their answers with a short film (20 mins, link at end of post).
Image 1: CC BY Credit: Science Museum, London
The Northampton Crippled Children's Fund (NCCF, 1893-1925) provided medical care for 'poor crippled children in straightened circumstances under 17 years of age' initially in Northampton and eventually county-wide. It also gave long term dietary supplementation and summer seaside holidays. It had wide community support. In its final year before the opening of the Manfield Orthopaedic Hospital it treated 3000 children. Crippled Children's Funds were widespread in the UK before the establishment of the National Health Service (NHS) but there are few surviving records and research has been limited in this area.
My day job is as a consultant community paediatrician. This film is a way of introducing medical history to my patients, keeping my day job interesting and giving something back to the community where I work.
The children involved in the film are my patients, their siblings and members of Theze Guyz Theatre Company, Northampton. Together, working with healthcare professionals and historians they relate, recreate and assess the work of the Northampton Crippled Children's Fund within its historical context. The film includes full medical and dietetic reconstructions, and some cartoons. You can view it using the following link:
https://www.youtube.com/watch?v=vvU8suIPTiU
The film credits acknowledge the funders who made this film happen.
The film was written and directed by Professor Andrew N Williams PhD FRHistS consultant community paediatrician and curator of Archive, Northampton General Hospital.
Posted on 26th March 2019 26th March 2019 by Lucy Havard | Leave a comment
Laboratory (? at Sudbury), Credit: Wellcome Collection
A young man, an assistant in the laboratory, poses for the camera. The surroundings and his attire flag a bygone era. What stories might he tell us of that time?
The photograph is undated, and the location not precisely specified [1]. The time and place can, however, be established with some certainty. The lab is part of the Serum Department of the Lister Institute of Preventive Medicine at Elstree, Hertfordshire. The year is 1903, or as near as matters, when this new establishment was unveiled to the press [2]. Another version of this image, artistically faded at the corners, appeared in a promotional pamphlet soon after [3].
In the archives of the Lister Institute, tucked away under 'historical items', sits a remarkable memoir [4]. Albert Riggs was 17 years old, and had been out of work for 4 weeks, when a neighbour working as a builder on the Elstree site suggested he apply for a vacancy. Riggs passed the interview and started as a lab assistant on 3 September 1903 on a weekly wage of 12 shillings. He was appointed Head Assistant at the beginning of World War I and remained an employee of the Institute for 48 years. He put down his memories in a 100-page annotated typescript illustrated with hand-drawn diagrams. Riggs' first impressions of the Elstree Laboratories were drawn upon by the best-known history of the Lister Institute:
At six o'clock on a lovely August morning in 1903, I first saw the Lister Institute, or as it was then known locally "Queensberry Lodge", and now whenever it comes to my mind, I see it as I saw it then, the lovely tree lined drive, the green fields, the trim hedges, the old house with its rustic porch in front, the stables with their eighteen horses and whistling stablemen, and the calm peace which reigned over everything. [5]
In considerable detail, Riggs describes the labs, animal houses and stables. He covers the routines involved in making a variety of serum products and the role of lab assistants immediately prior to 1914, and he offers a first-hand insight to the work of the Institute during the war when it supplied tetanus antitoxin and other antisera to the Army [6]. Most engagingly, Albert touches on aspects of his life, candidly recalls many of his colleagues, and describes – warts and all – some of the 'characters' under whom he worked.
With its authentic voice – a rare counterweight to the large volume of 'official' documents typical of institutional archives – this lab assistant's memoir breathes life into history.
[1] Image of laboratory at Sudbury (?), Lister Institute, Wellcome Library Archives, SA/LIS/R.163.
[2] British Medical Journal1 [2217], 1513-15 (1903); The Lancet, 2 [4167], 120-1 (1903).
[3] A Laboratory at Queensberry Lodge, The Lister Institute of Preventive Medicine – with notes on serum therapeutics by members of the staff of the Institute, 1904, SA/LIS/P.13, facing p. 10.
[4] Albert Riggs' Memoirs of the Lister Institute of Preventive Medicine, Elstree, Hertfordshire, c. 1951, SA/LIS/M.6.
[5] Chick, H, Hume, M. & Macfarlane, M. (1971) War on Disease: A History of the Lister Institute, London: Andre Deutsch, p. 80.
[6] Wawrzynczak, E.J. (2018) Making serum, saving soldiers: the Lister Institute during World War I, Vesalius– Journal of the International Society for the History of Medicine,Vol. XXIV, No. 2, 40-48.
Edward Wawrzynczak


Summary: The long awaited sequel to the award winning Life is Strange returns with a new 5-part narrative adventure from DONTNOD Entertainment.
Ich bin mehr als begeistert , die Story ist richtig gut , ich gebe zu bin sehr nah am Wasser gebaut und das Spiel hat das völlig ausgenutzt , bei Kapitel 2 brauch ich wohl eine Groß Packung Tempos.
Das Beste ist es fühlt sich an wie Life is Strange aber es Spielt sich anders vom Spiel gefühl her ,es ist sehr gut geworden!!!
Diese Verbindung auf sein klein Bruder zu achten ist richtig gut , habe mich laufend im Wald nach Daniel umgedreht weil angst hatte er geht mir verloren.
Spiel ist super gelaufen keine Lags, Crashes oder sonstiges super ding Dontnod , Daumen hoch!!!
Ich kann dieses Spiel mehr als empfehlen , muss sagen finde das erste Kapitel weit aus besser als den ersten teil, aber ich fand schon Captain Spirit besser, was nicht heisst das der erste teil nicht gut war nur dieser hier ist nochmal besser!
A great game, no more, no less. Who complain the presence of political content and talk of objective judgment should stay silent. A similarA great game, no more, no less. Who complain the presence of political content and talk of objective judgment should stay silent. A similar game have to talk about political content, like the first two game did in their way.
The story is strong, the character also, the music is perfect like always and so is the dubbing. The game offer a fresh new kind of adventure, different from the first season and from Before the Storm, but still similar for the kind of emotion that the adventure transmit.
Highly suggested to anyway who appreciate a story well written.
After playing the first episode, I can say that this is a regressive leftist propaganda masquerading as a computer game. In the game, allAfter playing the first episode, I can say that this is a regressive leftist propaganda masquerading as a computer game. In the game, all white men so far have been racist, fascist, bigots or **** Considering that I really liked Life is Strange 1, this is a serious letdown. I was expecting a similar, great game, but instead of I got this propaganda piece. Sure, there was some political messaging in the first game, but it was not as bad nor did it bother me that much. It was handled adequately.
This really makes me sad. They even implement post-modernist phrases in the game, such as "everything is political. These are the kind of things you learn from your Neo-Marxist professors. Now, I can understand that you have some political issues tackled in a game. Even post-modernist thought has it time and place. I could also say that racism is a good subject to tackle. Having a Mexican family as a center-stage is also a great idea. However, when there is no nuance or subtlety in your presentation, it feels forced. In this game, it is forced to the extreme.
Everything is not and does not have to be political. The authors of this propaganda should really look themselves in the mirror and ask, "I am really so much better than everyone else". I bet majority of developers of this game were white, and probably white men. Most came from middle-class or higher background. Unfortunately, they have been taught to loathe themselves because of their skin color and perceived privileged. This group-based identity is over-riding their ability to treat people as individuals. I have to say that I am not American, but I am getting really sick and tired of regressive leftist politics pushed by entertainment industry and media there. Americans, including most white leftists, used to be proud of their country and heritage and now they see themselves as oppressors. In other words, this is just another developer infested with this social justice sickness along with a healthy dose of Trump derangement syndrome.
Appalling storyline, sounds like it was written by an Edgy teen, Poltiics in video games, **** off, just **** off.
If you played Captain Spirit and thought you were getting something like that, you're completely wrong. And this isDon't buy this game!
What made LIS good is its world, possibilities of talking to so many characters, and getting to have that sense of belonging and finding your niche even in a school with mean girls and bullies.
LIS2 has none of that. There is no sense of belonging, things are GRIM, and there's little mystery, and I mean who plays a game where they HIDE, worry, steal, experience nightmares and get beaten up by a strange guy. Is that what you call FUN?
Or is that a GAME I'm supposed to buy and enjoy? And I'm bad person if I don't? How's that?
- Game's atmosphere is downright MISERABLE.
- You're on the run and you're stealing food or dumpster diving or talking to people who treat you with contempt. Again, this is totally why I buy video games, I'm a masochist.
- There's no sense of mystery or escape or world building like in LIS. Game has no LIS soul. It has no soul whatsoever actually!
- World in LIS2 is a hiking trail, the woods, and some bully's cabin. Wait, what worldbuiling are we talking about?
- Politically charged narrative. Whether you're left-wing, right-wing, centrist, are you really buying games to spend your precious free time in ugly and miserable worlds where you're on the run and being treated like a criminal by ugly people in the middle of nowhere? Wait, so I'm buying a game for THAT? Why not just go on Twitter?
- Feels are indeed forced. When you're scared or on the run or thinking about stealing, it's very hard to connect to positive emotions of nostalgia, warmth or serenity. When you're scared and miserable and dumpster diving, there's THAT and nothing else. You can't have your cake and eat it, too.
And FYI, I felt exactly the same thing when playing Detroit: Become Human so this is not tied to politics and being a good or a bad person or who you're voting or not voting for.
Playing as Kara, ALL you do is take care of Alice, avoid miserable situations, hide from people who want to hurt you, and see the very worst of human kind.
Dirt leftist propaganda without features of LiS 1.
Most of all in Lis I liked the atmosphere, which is not in Lis 2 at all.
3/10 DontnodDirt leftist propaganda without features of LiS 1.