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Teatru Malta - Provoke, argue and shareWords by David Alarcón
Teatru Malta
Provoke, argue and share
Can theatre be adapted to the unstoppable do-it-yourself trend? Of course, yes. Teatru Malta, a Mediterranean theatre company established in 2017 and recognized by various international organizations, demonstrates this in its latest project, Alice in Wordeless Land. Developed as "a Covid-19 friendly project," the piece consists of a doll's box, which needs spectator participation to come to life. "We wanted the audience to become the theatre-maker in collaboration with us," explains its leaders, who revisit Lewis Carroll's piece from a feminist and inclusive perspective.
How to adapt a classical play to be understood in an entirely different context? Aligning it with the values (much more plural and inclusive) of the new generations. Taking as a starting point the work of playwrights and activists Dario Fo and Franca Rame, Teatru Malta deconstructs limiting thoughts while creating a doll, symbol of the idea of women as objects promoted by mass media and production throughout history. "This project is about the position of women in today's society and how it creates space for problems such as the increase in domestic violence during a pandemic."
Being Malta's National Threatre Company, the creative platform has opted since its inception for a philosophy free of walls, adapting its performances to countless scenarios and formats. A way of thinking that now looks at internationalization through its new ready-to-assemble theatre piece, Alice in Wonderless Land, conceived during the pandemic. Besides being able to be produced in schools, multipurpose rooms or warehouse spaces, the initiative designed for young people plans to travel around the world. "It will be available and can be ordered by theatres around the world". We talk to its artistic director, Sean Buhagiar, for full details.
Teatru Malta focuses on the viewer, rejecting limiting formats and encouraging the audience to take part in the projects actively. Which is your work philosophy?
We do focus on the viewer because the viewer is ultimately who we make theatre for. However, we remain artist-led. Our philosophy is to bridge the gap between our artists and the audience by means of a variety of theatre productions. In a way, we want to be all things to all people. Obviously, keeping in mind that we are The National Theatre Company and thus we have to create work which breaks new ground leaving space to mainstream programming for the private sector. We believe in programming for audiences, not to the audience. Our philosophy therefore lies in our programming.
The theatre venture was formed in 2017, and since then you have not stopped promoting what you call "a concept without walls", offering a creative proposal which breaks the mold. What restrictions does traditional theatre imply?
I do not think traditional theatre is restricted today, it is only traditional. What I mean is that even in traditional venues, one is only as restricted as one wants it to be in the chosen space. When it comes to being a "non-traditional" national theatre company, I would say we did avoid two major restrictions: being tied to one or a number of venues which limit the scale and type of theatre we make, and employing a number of artists which we then have to work with thus conforming to one aesthetic.
In the last decade, short theatre plays have gained special relevance. The younger generation seem not to be willing to spend much time in a show, unless they are invited to participate during the performance. Many people are suspicious of projects that try to change the pattern. Even being aware of the benefit they can bring, they use to respond with fear and rejection. How was Teatru Malta received by the public? How has it evolved in the last four years?
I think Teatru Malta has been generally well received by the public locally. Statistically, we are one of the strongest local public cultural organizations, when it comes to audience attendance. However, we are still far and away from being part of the wellbeing of society as whole. We want many more people to attend theatre regularly, that way we can also help better audiences for the private sector and creating space for a stronger theatrical ecosystem. Even though Teatru Malta was producing different work, we found little fear or rejection when it came to the public. I do think, though this is an assumption, that local theatre makers were generally sceptical of the concept at first – which is quite normal according to my European colleagues. However, I believe that most have now accepted the space Teatru Malta is taking because we have proved the need for it.
I guess that, when you decided to launch the project, you had to define an action strategy. What was the first step you took to achieve your goals?
Teatru Malta's first year was spent listening to stakeholders, building bridges with communities, and creating collaboration and space for co-production. We then came out with a myriad of different performances. In its first three years of programming, Teatru Malta had a substantial output with over twenty productions. Our main aim was to offer audiences a different kind of theatre to what the private sector was offering, in both Maltese and English, since we are bi-lingual island-state.
Who are the people behind the company? Are you all originally from Malta, or is it an international team?
Our core team is Maltese. However, since we outsource our creative process, we tend to work with a lot with international artists. We prefer to promote international collaboration when it comes to our artistic output, rather than our production work. We are however a full member of the European Theatre Convention, which puts us in constant discussion with the major theatres in Europe. As a longer term vision, we believe we can become an ideal place to test international collaborations and co-productions with audiences. It's easier to risk here.
Despite contributing to a new way of doing theatre, you turn to classic plays and texts from past centuries to reinvent them, giving them all a new meaning through a pedagogical vision. Is it important to learn from the past not to make the same mistakes?
I think the original aphorism that inspired that phrase is by Spanish American philosopher George Santayana in The Life of Reason and originally reads: "Those who cannot remember the past are condemned to repeat it". In conclusion, classics were not mistakes. If we do not appreciate the world's classical cannon and we do not understand why they became classics, we only risk repeating; and that would be the mistake. We have a project called Proġett Klassiċi, in which we translate the work of a classic author in Maltese. This year we are working on Brecht's Mother Courage.
And how is the process of reinvention of classics? How do you manage to adapt them to the present time?
When we produce such work, we try to give it a newfound context by associating an artist who wants to make something groundbreaking, or make a contemporary comment out of the work. We experience international work in our mother tongue, whilst re-telling a beautiful story in our own way. Written classics have become classics because they are, in some ways, timeless stories. Theatre is a product of its time, and that is why we have to deal with them differently. That is why we also produced two classics for teenagers in the last two years, the generation that can build on them most after all. As Isaac Newton said, "If i have seen further it is by standing on the shoulders of giants".
Since you created the company, you have been part of Żigużajg International Arts Festival for Children & Young People. The only festival in Malta specifically aimed at children, offering them international productions and commissioned works annually. What can you tell us about this project?
Żigużajg is a ten-year-old festival for children and youths led by Spazju Kreattiv, our national centre for creativity. It has been an awesome project because it brought curated work for children, something which was lacking here. Together with the festival, we decided to focus on the demographic that the festival seemed to struggle with in terms of engagement, teenagers. We worked on a workshop for youths with difficult backgrounds in a school with French Director Christiane Véricel, and on a contemporary adaptation of Anthony Burgess A Clockwork Orange for teenagers. In 2020, we produced Franca Rame and Dario Fo's Alice in Wonderless Land.
However, on this occasion you had to reinvent yourselves due to the restrictions. And you have done it through Alice in Wondeless Land, as you said, which you have called "DIY Theatre Event". A performance package you have sent to schools maintaining all the measures and social distance. What is this new initiative about? What does this pack include and how is the process once received?
Alice in Wonderless Land by Franca Rame and Dario Fo was developed as a Covid-19 friendly project which can hopefully outlive the pandemic. We wanted to remain true to the nature of live theatre. The pack is essentially a doll's box, on which you will notice that we called this a DIY theatre performance.
What are the benefits of DIY theatre?
DIY as a term is often associated with an aesthetic that celebrates the imperfect and the make-do mentality, but it can also be born of necessity. This performance is not simply a product you can just put together yourself, it is what you can call a participatory product. It needs you to be a participant. Therefore, more specifically, this is a ready-to-assemble theatre piece. We also wanted the audience to become the theatre-maker in collaboration with us, and that's why we give you the tools and instructions, inspired by ready to assemble furniture pieces, to do so. In simple terms, you are not making your own show, we are making a show together.
Alice in Wonderless Land emerged by a feminist monologue from 1976 by Franca Rame and Dario Fo, inspired at the same time by Lewis Carroll's fantasy novel. Why is this manifesto so important?
Dario Fo and Franca Rame were the people's clowns. They were playwrights, actors and political activists, who wrote for the people and treated their audience as their 'most valid collaborator.' In the prologue of Alice in Wonderless Land, Franca Rame writes it is "A kind of monologue in one act whose staging can be made using filmic projections, props, mannequins and puppets. However, each director is free to use the supporting elements they prefer." She never performed this show and promised that if she and Dario decided to "Throw themselves" in the project, they would let us know. Sadly, they never did. This is why I feel in a way that it is unfinished, because their most valid collaborator never collaborated on this. I feel that this performance respects the work of the two theatre masters, whilst challenging its possibilities.
Freedom of choice in a classic piece like this… It was a declaration of intentions with no doubt.
Despite Dario Fo's Nobel prize for emulating "The jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden", I believe that Franca Rame and Dario Fo's writing is still marginal to the commonly-accepted canon of European literature. On the other hand, Lewis Carroll's Alice's Adventures in Wonderland is undoubtedly one of the most famous stories ever told in our history. It has been translated into almost a hundred languages and adapted in so many different ways.
How was the 'Wonderless Land' imagined by the duo of creator?
Franca Rame's deconstruction of the story into a one-act monologue is symbolic of her lifetime quest to deconstruct the patriarchy. A straightforward attack on patriarchy and its fantastical feminist axiom are the catalysts prompting this sense of disturbance. A disturbance we still need today. That is why we feel that this manifesto is crucial.
"Wonderland is not always what it seems." Under this premise, you build this new story, in which a parallel between women and dolls is drawn. The story pays attention to Alice, while she discovers herself in a world dominated by men. Equality, self-knowledge and social vindication make an appearance during the play. How have you adapted the message to be understood by children?
The performance is strictly 14+ and asks the presence of two adults. It treats its audience as an imagined community subject to androcentrism and what is understood as the patriarchy. Furthermore, our target audience is teenagers because we were interested in the liminality of adolescence. We want to make this DIY performance with them during their rite of passage into adulthood. This project is about the position of women in society today, and how it creates space for issues like rising domestic violence during a pandemic.
The project is available in both Maltese and English, and was featured at ŻiguŻajg Festival 2020, as we mentioned above, in early December. How was the experience?
Creating the project during the pandemic was quite exasperating. The project was very well received in our public shows with several activists endorsing it, and it also had a theme song by Alexandra Alden, a Maltese singer based in Holland, which was premiered in collaboration Commission on Gender Based Violence and Domestic Violence. Prior to the premiere, two focus groups were organized with teenagers as well as a special viewing for leaders in feminist, domestic violence prevention and gender equality activism. Through ŻiguŻajg, the project was available to schools and NGOs garnering the attention of a good number of schools with students over the age of 14.
Has anyone rejected or criticized your project?
We had one church-associated school who returned the box (very symbolic of Dario Fo) and some conservative educators who were skeptical about how prepared our teenagers are for such an in-your-face treatment of this subject. However, we knew that we would get such reactions. The project comes with strong resources packs prepared by a professional drama therapist and scrutinized by psychologists. We feel that the project is audacious, but also necessary.
You say you knew you would get such reactions. What can you tell us about the theatre scene in Malta?
Malta has a very young theatre history when compared to most of Europe. Today we still have a very strong amateur theatre practice, though we have seen an increase in professional activity during last years. This also results in projects where professionals and amateurs collaborate. Most of these students are studying in the UK, which makes their theatre style and essence very anglo-saxon, resulting in a more homogenous and less Mediterranean theatre aesthetic. We are trying to balance this out by offering different methods and thinking. Moreover, verbal theatre in Malta exists in our two official languages, English and Maltese, with most artists choosing one or the other, and we are trying to challenge this dichotomy.
We are living an uncertain moment that will surely bring us many changes. Do you think theatre will change forever?
I think the appreciation of theatre will change. Much like post-war generations appreciated their food probably more than our generation does today. However, I don't think I can say that theatre will change forever because of this pandemic. Humans have lived through many a pandemic and theatre did not change overnight. It did inspire great art though. Ultimately, theatre is made by human beings, and if human beings change forever, so will their theatre.
And finally, what can you tell us about Teatru Malta's next projects?
We have quite a number of projects in development due to the pandemic. We are currently working on a dance theatre piece commenting on current Nouveau Riche trends, an outdoor site-specific theatre performance dealing with environmental destruction using circus elements, a dystopian interactive theatre experience in a dilapidated hotel written by a game writer, a musical in the dark, amongst many others projects. And besides projects, we are working on our upcoming strategy along with creating a space for our artists to meet, discuss and share projects and work on a monthly basis. Let's just say we have a lot of work to do.
Maria Galea (The Insynk Collective)
Performance pictures
Elisa Von Brockdorff


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Q: Sending IP address through socket in C I currently have a working client (written in C++) and a working server (written in C). I'm currently trying to figure out how to send to the client from the server a message that says "Hello, (Clients IP address)", also I'd like to respond to the client when he says "Hello" with a message of my choosing. Also when the client sends "quit" I'd like to disconnect the client, but not shutdown the server. Below is my code.
 while(true)     // loop forever
 {
  client = accept(sock,(struct sockaddr*)&from,&fromlen);      // accept connections

  unsigned long ulAddr = from.sin_addr.s_addr;

  char *client_ip;
  client_ip = inet_ntoa(from.sin_addr);

  cout << "Welcome, " << client_ip << endl; // usually prints hello %s
  // cout << "client before thread:" << (int) client << endl;
  // create our recv_cmds thread and pass client socket as a parameter
  CreateThread(NULL, 0,receive_cmds,(LPVOID)client, 0, &thread);
 }

 WSACleanup();

updated code* my current problem is that it just prints Welcome %s, not an actual IPv4 address.

A:
char welcome[90] = "Welcome %s",inet_ntoa(addr_remote.sin_addr);

You can't format a string buffer in a declaration like that.  You need to use sprintf() or similar function instead, eg:
char welcome[90];
sprintf(welcome, "Welcome %s", inet_ntoa(addr_remote.sin_addr));

Or else use a std::string instead:
std::string welcome = "Welcome " + std::string(inet_ntoa(addr_remote.sin_addr));
...
write(nsockfd , welcome.c_str() , welcome.length());

redpajama_set_name: RedPajamaStackExchange


text:
<?php

namespace common\models;

use Yii;

/**
 * This is the model class for table "{{%goods_car}}".
 *
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 * @property string $memberID
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 * @property integer $productID
 * @property integer $numbers
 * @property string $createTime
 */
class Car extends \yii\db\ActiveRecord
{
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    public static function tableName()
    {
        return '{{%goods_car}}';
    }

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    {
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            [['memberID', 'goodsID', 'productID', 'numbers'], 'required'],
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            [['createTime'], 'safe'],
        ];
    }

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            'id' => 'ID',
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            'numbers' => 'Numbers',
            'createTime' => 'Create Time',
        ];
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}

redpajama_set_name: RedPajamaGithub


I did not realize how huge Siberia really was or that it ranks more as a concept title rather than an actual 'country' or 'place' exactly. People call it Siberia, it's a name that has been tacked on, but revolves around an idea rather than a place.
Okay I don't mean to lose you- but think of it this way Siberia is more mental a state of mind so to speak.
Back in 2011 Mental Floss did a little piece about Siberia, which is where I got started on my idea for my next series...Siberian Paradox. Of course some thing s have changed since 2011, some things are further explained as scientists and researchers began to understand the unexplained...however this is my inspiration.
And I'm running with it.
Be sure to check out the article linked above it's a super short read and very thought provoking...below is my favorite sentence from the article. Tell me in the comments what your thoughts are on Siberia...I'd love to know.
"It appears on atlases as a region but is unconnected to any specific placename; it's more a state of mind. The word itself in Russian -- Sibir -- seems to connote, with its sibilant ess and a rolled-r brr at the end, a shiver." ~2011 Siberia: What's in a name?
How interesting you're doing a series in Siberia! I do love the cold out-of-the-way places. I've seen a bunch of shows on the Science and Travel channels. What tough people to live in the coldest towns on the planet!
I'm just breaking in- there is so much mystery surrounding it and superstition that it is prime for book material...at least for me.
Siberia is a tough place to live, either physically or mentally.
There are also Siberian tigers. Not many, but they are still out there.
Excited claps- It's going to be awesome to learn more.
I really hope so <3 Thank you for taking the time to comment.


An aluminium system, introducing high quality, classical and elegantly designed profiles, as timeless, as the Italian region it is named after, but with the added benefit of a modern selection of colours and features.
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AASIM SAJJAD AKHTAR – The writer teaches at Quaid-i-Azam University, Islamabad.
MOST of us living outside of Karachi often find it hard to explain the demi-god status accorded to Altaf Hussain by so many of the city's ordinary Urdu-speaking residents. Yes the 'Quaid-i-Tehreek' has fashioned a disciplined organisation that elicits more fear than respect, but an explanation for Altaf Hussain and the MQM's resilience that ignores popular support is insufficient.
The most recent sequence of events in Karachi speak to a quite serious power struggle within the organisation, and it now appears to be a question of when rather than if the Pakistan-based party leadership accedes to the so-called 'minus-one' formula which insiders claim will facilitate a renewed relationship between the establishment and the MQM.
It seems reasonable to think that there are concerns from within the organisation that the 'minus-one' scenario will have adverse effects on the party's popularity, notwithstanding Altaf Hussain's regularly embarrassing diatribes. This may be true, but my sense is that the MQM's support base would not just wither away in a prospective post-Altaf Hussain world.
The Mohajir experience has been unique.
Indeed, popular reactions to the 'operation' that has been ongoing in Karachi for the best part of a year now confirm as much. Many young, educated Urdu-speakers active on social media are currently angry at the 'victimisation' of Mohajirs by paramilitaries, and more often than not present their plight in the form of a grand historical narrative which traces the persecution of their community to the sacrifices made by Urdu-speaking migrants at the time of Partition.
Of all the ethno-linguistic nations that reside in contemporary Pakistan, the Mohajirs occupy the most contradictory cultural and political position. Internal class differentiation aside, Punjabis constitute a dominant majority, whilst Baloch, Sindhis, Seraikis, the various communities in Gilgit-Baltistan — and many others — can generally be seen as underrepresented and less privileged. The Pakhtuns represent an interesting case because many have enjoyed substantial upward economic mobility, but the exclusion, humiliation and suffering of many more confirms the relative lack of privilege of the community as a whole.
The Mohajir experience is entirely unique, and has been from the very beginning. There is little doubt that millions of ordinary people sacrificed much in choosing to leave their places of birth in India and coming to settle in what became Pakistan in and around 1947 (although it should be borne in mind that the majority of those who travelled across the border were Punjabis rather than Urdu-speakers). A great many of these migrants never graduated into the ranks of the elite and their humble origins continue to be apparent today.
Yet a non-negligible segment of 'non-elite' Urdu-speakers did benefit greatly in the new state. Those who had literate backgrounds were given preferential access to employment in public-sector institutions; many others managed to secure compensation for what they had left behind in India through the infamous Evacuee Property Trust; more generally Karachi's status as the new country's economic hub facilitated various livelihood opportunities unavailable to working and middle-class populations elsewhere in the country.
Thus ordinary Urdu-speakers found some resonance with the rich and powerful members of their community who were over-represented in the highest echelons of the new state. Partly for this reason, but also because of cultural difference, the Mohajir 'non-elite' never quite assimilated with Sindhis; the latter perceived them as outsiders who had privileged access to political and economic resources while Mohajirs in turn were schooled in earlier traditions of unitary Pakistani nationalism and all of the disdain that ideology has for the 'narrow-mindedness' of ethnicity.
This pattern of difference and conflict remained intact for the first decade and a half after Partition. The Mohajir narrative became more complicated, however, when upcountry Pakistanis hailing from various ethno-linguistic backgrounds started to descend upon Karachi (less so other towns in Sindh) in the 1960s. Economic opportunities now had to be shared. The situation went from bad to worse following the accession to power of Zulfiqar Ali Bhutto and the PPP which promoted Sindhi culture and affirmative action for Sindhis generally. By late 1970s, the relative privilege of Sindh's Urdu-speaking community had been whittled away considerably.
The seeds of Mohajir nationalism having been laid, Altaf Hussain and his comrades appeared on the scene in the shape of the All-Pakistan Mohajir Student Organisation (APMSO) and then the MQM, lower-middle class Urdu-speakers' ever deepening feelings of deprivation were effectively harnessed towards parochial ends. The rest is history.
It is all good and well to curse the MQM and Altaf Hussain for making Karachi a living hell. But in doing so we neglect the makings of the Mohajir mind and how it has given rise to a unique and exclusionary brand of Pakistani nationalism. Pakistan is, as the academic Mohammad Waseem has put it, a migrant state. There is no question of us being able to reconcile all of our ethno-linguistic conflicts without recognition of this reality.


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The Urban Appalachian Community Coalition
The Urban Appalachian Community Coalition (UACC) is an alliance of individuals and organizations committed to the well-being of Appalachian people, communities and cultural expression in the greater Cincinnati area. UACC's mission is to provide an organizational structure through which urban Appalachians in the Cincinnati region can build mutual support, promote awareness of urban Appalachian people's contributions, and take action to address common concerns.
Our Calling:
We believe in the irrepressible spirit of the Appalachian people, and that the nurturing of that spirit benefits Greater Cincinnati through our:
Wisdom  informed by both our Appalachian heritage and our urban experiences;
Resistance to threats to individual, family, and community well-being;
Respect for community as both place and the people who live there;
Artistic and cultural expressions of  who we were and are;
Inclusiveness that recognizes how people are alike rather than different;
Advocacy on behalf of those whose voices have not been heard.
Our History:
UACC traces it origin to the 1964 founding of the Main Street Bible Center, which served Appalachian migrants chiefly in Over-the-Rhine. The Urban Appalachian Council was established in 1974 and provided services to Cincinnati Appalachians for forty years. In 2014, the service components were absorbed by other organizations and UACC was established as a coalition. Overall we have served Cincinnati Appalachians for more than a half-century, with the chief founders of the organization still active.

redpajama_set_name: RedPajamaCommonCrawl


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A Fortune 100 business technology company.
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I was named a 2018 Philadelphia Business Journal Forty Under 40 honoree.
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I enjoy cooking and have taken several professional classes.
I studied abroad in Italy for a semester in college.
My hyphenated last name is a combination of my mother's and father's last names.


text:
"""Database level operations."""

import warnings

from bson.code import Code
from bson.dbref import DBRef
from bson.son import SON
from pymongo import helpers
from pymongo.collection import Collection
from pymongo.errors import (CollectionInvalid,
                            InvalidName,
                            OperationFailure)
from pymongo.son_manipulator import ObjectIdInjector

def _check_name(name):
    """Check if a database name is valid.
    """
    if not name:
        raise InvalidName("database name cannot be the empty string")

    for invalid_char in [" ", ".", "$", "/", "\\"]:
        if invalid_char in name:
            raise InvalidName("database names cannot contain the "
                              "character %r" % invalid_char)

class Database(object):
    """A Mongo database.
    """

    def __init__(self, connection, name):
        """Get a database by connection and name.

        Raises :class:`TypeError` if `name` is not an instance of
        :class:`basestring`. Raises
        :class:`~pymongo.errors.InvalidName` if `name` is not a valid
        database name.

        :Parameters:
          - `connection`: a :class:`~pymongo.connection.Connection`
            instance
          - `name`: database name

        .. mongodoc:: databases
        """
        if not isinstance(name, basestring):
            raise TypeError("name must be an instance of basestring")

        _check_name(name)

        self.__name = unicode(name)
        self.__connection = connection

        self.__incoming_manipulators = []
        self.__incoming_copying_manipulators = []
        self.__outgoing_manipulators = []
        self.__outgoing_copying_manipulators = []
        self.add_son_manipulator(ObjectIdInjector())

    def add_son_manipulator(self, manipulator):
        """Add a new son manipulator to this database.

        Newly added manipulators will be applied before existing ones.

        :Parameters:
          - `manipulator`: the manipulator to add
        """
        def method_overwritten(instance, method):
            return getattr(instance, method) != \
                getattr(super(instance.__class__, instance), method)

        if manipulator.will_copy():
            if method_overwritten(manipulator, "transform_incoming"):
                self.__incoming_copying_manipulators.insert(0, manipulator)
            if method_overwritten(manipulator, "transform_outgoing"):
                self.__outgoing_copying_manipulators.insert(0, manipulator)
        else:
            if method_overwritten(manipulator, "transform_incoming"):
                self.__incoming_manipulators.insert(0, manipulator)
            if method_overwritten(manipulator, "transform_outgoing"):
                self.__outgoing_manipulators.insert(0, manipulator)

    @property
    def system_js(self):
        """A :class:`SystemJS` helper for this :class:`Database`.

        See the documentation for :class:`SystemJS` for more details.

        .. versionadded:: 1.5
        """
        return SystemJS(self)

    @property
    def connection(self):
        """The :class:`~pymongo.connection.Connection` instance for this
        :class:`Database`.

        .. versionchanged:: 1.3
           ``connection`` is now a property rather than a method.
        """
        return self.__connection

    @property
    def name(self):
        """The name of this :class:`Database`.

        .. versionchanged:: 1.3
           ``name`` is now a property rather than a method.
        """
        return self.__name

    def __cmp__(self, other):
        if isinstance(other, Database):
            return cmp((self.__connection, self.__name),
                       (other.__connection, other.__name))
        return NotImplemented

    def __repr__(self):
        return "Database(%r, %r)" % (self.__connection, self.__name)

    def __getattr__(self, name):
        """Get a collection of this database by name.

        Raises InvalidName if an invalid collection name is used.

        :Parameters:
          - `name`: the name of the collection to get
        """
        return Collection(self, name)

    def __getitem__(self, name):
        """Get a collection of this database by name.

        Raises InvalidName if an invalid collection name is used.

        :Parameters:
          - `name`: the name of the collection to get
        """
        return self.__getattr__(name)

    def create_collection(self, name, options=None, **kwargs):
        """Create a new :class:`~pymongo.collection.Collection` in this
        database.

        Normally collection creation is automatic. This method should
        only be used to specify options on
        creation. :class:`~pymongo.errors.CollectionInvalid` will be
        raised if the collection already exists.

        Options should be passed as keyword arguments to this
        method. Any of the following options are valid:

          - "size": desired initial size for the collection (in
            bytes). must be less than or equal to 10000000000. For
            capped collections this size is the max size of the
            collection.
          - "capped": if True, this is a capped collection
          - "max": maximum number of objects if capped (optional)

        :Parameters:
          - `name`: the name of the collection to create
          - `options`: DEPRECATED options to use on the new collection
          - `**kwargs` (optional): additional keyword arguments will
            be passed as options for the create collection command

        .. versionchanged:: 1.5
           deprecating `options` in favor of kwargs
        """
        opts = {"create": True}
        if options is not None:
            warnings.warn("the options argument to create_collection is "
                          "deprecated and will be removed. please use "
                          "kwargs instead.", DeprecationWarning)
            opts.update(options)
        opts.update(kwargs)

        if name in self.collection_names():
            raise CollectionInvalid("collection %s already exists" % name)

        return Collection(self, name, **opts)

    def _fix_incoming(self, son, collection):
        """Apply manipulators to an incoming SON object before it gets stored.

        :Parameters:
          - `son`: the son object going into the database
          - `collection`: the collection the son object is being saved in
        """
        for manipulator in self.__incoming_manipulators:
            son = manipulator.transform_incoming(son, collection)
        for manipulator in self.__incoming_copying_manipulators:
            son = manipulator.transform_incoming(son, collection)
        return son

    def _fix_outgoing(self, son, collection):
        """Apply manipulators to a SON object as it comes out of the database.

        :Parameters:
          - `son`: the son object coming out of the database
          - `collection`: the collection the son object was saved in
        """
        for manipulator in reversed(self.__outgoing_manipulators):
            son = manipulator.transform_outgoing(son, collection)
        for manipulator in reversed(self.__outgoing_copying_manipulators):
            son = manipulator.transform_outgoing(son, collection)
        return son

    def command(self, command, value=1,
                check=True, allowable_errors=[], **kwargs):
        """Issue a MongoDB command.

        Send command `command` to the database and return the
        response. If `command` is an instance of :class:`basestring`
        then the command {`command`: `value`} will be sent. Otherwise,
        `command` must be an instance of :class:`dict` and will be
        sent as is.

        Any additional keyword arguments will be added to the final
        command document before it is sent.

        For example, a command like ``{buildinfo: 1}`` can be sent
        using:

        >>> db.command("buildinfo")

        For a command where the value matters, like ``{collstats:
        collection_name}`` we can do:

        >>> db.command("collstats", collection_name)

        For commands that take additional arguments we can use
        kwargs. So ``{filemd5: object_id, root: file_root}`` becomes:

        >>> db.command("filemd5", object_id, root=file_root)

        :Parameters:
          - `command`: document representing the command to be issued,
            or the name of the command (for simple commands only).

            .. note:: the order of keys in the `command` document is
               significant (the "verb" must come first), so commands
               which require multiple keys (e.g. `findandmodify`)
               should use an instance of :class:`~bson.son.SON` or
               a string and kwargs instead of a Python `dict`.

          - `value` (optional): value to use for the command verb when
            `command` is passed as a string
          - `check` (optional): check the response for errors, raising
            :class:`~pymongo.errors.OperationFailure` if there are any
          - `allowable_errors`: if `check` is ``True``, error messages
            in this list will be ignored by error-checking
          - `**kwargs` (optional): additional keyword arguments will
            be added to the command document before it is sent

        .. versionchanged:: 1.6
           Added the `value` argument for string commands, and keyword
           arguments for additional command options.
        .. versionchanged:: 1.5
           `command` can be a string in addition to a full document.
        .. versionadded:: 1.4

        .. mongodoc:: commands
        """

        if isinstance(command, basestring):
            command = SON([(command, value)])

        command.update(kwargs)

        result = self["$cmd"].find_one(command,
                                       _must_use_master=True,
                                       _is_command=True)

        if check:
            msg = "command %r failed: %%s" % command
            helpers._check_command_response(result, self.connection.disconnect,
                                            msg, allowable_errors)

        return result

    def collection_names(self):
        """Get a list of all the collection names in this database.
        """
        results = self["system.namespaces"].find(_must_use_master=True)
        names = [r["name"] for r in results]
        names = [n[len(self.__name) + 1:] for n in names
                 if n.startswith(self.__name + ".")]
        names = [n for n in names if "$" not in n]
        return names

    def drop_collection(self, name_or_collection):
        """Drop a collection.

        :Parameters:
          - `name_or_collection`: the name of a collection to drop or the
            collection object itself
        """
        name = name_or_collection
        if isinstance(name, Collection):
            name = name.name

        if not isinstance(name, basestring):
            raise TypeError("name_or_collection must be an instance of "
                            "(Collection, str, unicode)")

        self.__connection._purge_index(self.__name, name)

        self.command("drop", unicode(name), allowable_errors=["ns not found"])

    def validate_collection(self, name_or_collection,
                            scandata=False, full=False):
        """Validate a collection.

        Returns a dict of validation info. Raises CollectionInvalid if
        validation fails.

        With MongoDB < 1.9 the result dict will include a `result` key
        with a string value that represents the validation results. With
        MongoDB >= 1.9 the `result` key no longer exists and the results
        are split into individual fields in the result dict.

        :Parameters:
            `name_or_collection`: A Collection object or the name of a
                                  collection to validate.
            `scandata`: Do extra checks beyond checking the overall
                        structure of the collection.
            `full`: Have the server do a more thorough scan of the
                    collection. Use with `scandata` for a thorough scan
                    of the structure of the collection and the individual
                    documents. Ignored in MongoDB versions before 1.9.

        .. versionchanged:: 1.11
           validate_collection previously returned a string.
        .. versionadded:: 1.11
           Added `scandata` and `full` options.
        """
        name = name_or_collection
        if isinstance(name, Collection):
            name = name.name

        if not isinstance(name, basestring):
            raise TypeError("name_or_collection must be an instance of "
                            "(Collection, str, unicode)")

        result = self.command("validate", unicode(name),
                              scandata=scandata, full=full)

        valid = True
        # Pre 1.9 results
        if "result" in result:
            info = result["result"]
            if info.find("exception") != -1 or info.find("corrupt") != -1:
                raise CollectionInvalid("%s invalid: %s" % (name, info))
        # Sharded results
        elif "raw" in result:
            for repl, res in result["raw"].iteritems():
                if "result" in res:
                    info = res["result"]
                    if (info.find("exception") != -1 or
                        info.find("corrupt") != -1):
                        raise CollectionInvalid("%s invalid: "
                                                "%s" % (name, info))
                elif not res.get("valid", False):
                    valid = False
                    break
        # Post 1.9 non-sharded results.
        elif not result.get("valid", False):
            valid = False

        if not valid:
            raise CollectionInvalid("%s invalid: %r" % (name, result))

        return result

    def profiling_level(self):
        """Get the database's current profiling level.

        Returns one of (:data:`~pymongo.OFF`,
        :data:`~pymongo.SLOW_ONLY`, :data:`~pymongo.ALL`).

        .. mongodoc:: profiling
        """
        result = self.command("profile", -1)

        assert result["was"] >= 0 and result["was"] <= 2
        return result["was"]

    def set_profiling_level(self, level):
        """Set the database's profiling level.

        Raises :class:`ValueError` if level is not one of
        (:data:`~pymongo.OFF`, :data:`~pymongo.SLOW_ONLY`,
        :data:`~pymongo.ALL`).

        :Parameters:
          - `level`: the profiling level to use

        .. mongodoc:: profiling
        """
        if not isinstance(level, int) or level < 0 or level > 2:
            raise ValueError("level must be one of (OFF, SLOW_ONLY, ALL)")

        self.command("profile", level)

    def profiling_info(self):
        """Returns a list containing current profiling information.

        .. mongodoc:: profiling
        """
        return list(self["system.profile"].find())

    def error(self):
        """Get a database error if one occured on the last operation.

        Return None if the last operation was error-free. Otherwise return the
        error that occurred.
        """
        error = self.command("getlasterror")
        if error.get("err", 0) is None:
            return None
        if error["err"] == "not master":
            self.__connection.disconnect()
        return error

    def last_status(self):
        """Get status information from the last operation.

        Returns a SON object with status information.
        """
        return self.command("getlasterror")

    def previous_error(self):
        """Get the most recent error to have occurred on this database.

        Only returns errors that have occurred since the last call to
        `Database.reset_error_history`. Returns None if no such errors have
        occurred.
        """
        error = self.command("getpreverror")
        if error.get("err", 0) is None:
            return None
        return error

    def reset_error_history(self):
        """Reset the error history of this database.

        Calls to `Database.previous_error` will only return errors that have
        occurred since the most recent call to this method.
        """
        self.command("reseterror")

    def __iter__(self):
        return self

    def next(self):
        raise TypeError("'Database' object is not iterable")

    def add_user(self, name, password):
        """Create user `name` with password `password`.

        Add a new user with permissions for this :class:`Database`.

        .. note:: Will change the password if user `name` already exists.

        :Parameters:
          - `name`: the name of the user to create
          - `password`: the password of the user to create

        .. versionadded:: 1.4
        """
        pwd = helpers._password_digest(name, password)
        self.system.users.update({"user": name},
                                 {"user": name,
                                  "pwd": pwd},
                                 upsert=True, safe=True)

    def remove_user(self, name):
        """Remove user `name` from this :class:`Database`.

        User `name` will no longer have permissions to access this
        :class:`Database`.

        :Parameters:
          - `name`: the name of the user to remove

        .. versionadded:: 1.4
        """
        self.system.users.remove({"user": name}, safe=True)

    def authenticate(self, name, password):
        """Authenticate to use this database.

        Once authenticated, the user has full read and write access to
        this database. Raises :class:`TypeError` if either `name` or
        `password` is not an instance of ``(str,
        unicode)``. Authentication lasts for the life of the database
        connection, or until :meth:`logout` is called.

        The "admin" database is special. Authenticating on "admin"
        gives access to *all* databases. Effectively, "admin" access
        means root access to the database.

        .. note:: Currently, authentication is per
           :class:`~socket.socket`. This means that there are a couple
           of situations in which re-authentication is necessary:

           - On failover (when an
             :class:`~pymongo.errors.AutoReconnect` exception is
             raised).

           - After a call to
             :meth:`~pymongo.connection.Connection.disconnect` or
             :meth:`~pymongo.connection.Connection.end_request`.

           - When sharing a :class:`~pymongo.connection.Connection`
             between multiple threads, each thread will need to
             authenticate separately.

        .. warning:: Currently, calls to
           :meth:`~pymongo.connection.Connection.end_request` will
           lead to unpredictable behavior in combination with
           auth. The :class:`~socket.socket` owned by the calling
           thread will be returned to the pool, so whichever thread
           uses that :class:`~socket.socket` next will have whatever
           permissions were granted to the calling thread.

        :Parameters:
          - `name`: the name of the user to authenticate
          - `password`: the password of the user to authenticate

        .. mongodoc:: authenticate
        """
        if not isinstance(name, basestring):
            raise TypeError("name must be an instance of basestring")
        if not isinstance(password, basestring):
            raise TypeError("password must be an instance of basestring")

        nonce = self.command("getnonce")["nonce"]
        key = helpers._auth_key(nonce, name, password)
        try:
            self.command("authenticate", user=unicode(name),
                         nonce=nonce, key=key)
            return True
        except OperationFailure:
            return False

    def logout(self):
        """Deauthorize use of this database for this connection.

        Note that other databases may still be authorized.
        """
        self.command("logout")

    def dereference(self, dbref):
        """Dereference a :class:`~bson.dbref.DBRef`, getting the
        document it points to.

        Raises :class:`TypeError` if `dbref` is not an instance of
        :class:`~bson.dbref.DBRef`. Returns a document, or ``None`` if
        the reference does not point to a valid document.  Raises
        :class:`ValueError` if `dbref` has a database specified that
        is different from the current database.

        :Parameters:
          - `dbref`: the reference
        """
        if not isinstance(dbref, DBRef):
            raise TypeError("cannot dereference a %s" % type(dbref))
        if dbref.database is not None and dbref.database != self.__name:
            raise ValueError("trying to dereference a DBRef that points to "
                             "another database (%r not %r)" % (dbref.database,
                                                               self.__name))
        return self[dbref.collection].find_one({"_id": dbref.id})

    def eval(self, code, *args):
        """Evaluate a JavaScript expression in MongoDB.

        Useful if you need to touch a lot of data lightly; in such a
        scenario the network transfer of the data could be a
        bottleneck. The `code` argument must be a JavaScript
        function. Additional positional arguments will be passed to
        that function when it is run on the server.

        Raises :class:`TypeError` if `code` is not an instance of
        (str, unicode, `Code`). Raises
        :class:`~pymongo.errors.OperationFailure` if the eval
        fails. Returns the result of the evaluation.

        :Parameters:
          - `code`: string representation of JavaScript code to be
            evaluated
          - `args` (optional): additional positional arguments are
            passed to the `code` being evaluated
        """
        if not isinstance(code, Code):
            code = Code(code)

        result = self.command("$eval", code, args=args)
        return result.get("retval", None)

    def __call__(self, *args, **kwargs):
        """This is only here so that some API misusages are easier to debug.
        """
        raise TypeError("'Database' object is not callable. If you meant to "
                        "call the '%s' method on a 'Connection' object it is "
                        "failing because no such method exists." % self.__name)

class SystemJS(object):
    """Helper class for dealing with stored JavaScript.
    """

    def __init__(self, database):
        """Get a system js helper for the database `database`.

        An instance of :class:`SystemJS` can be created with an instance
        of :class:`Database` through :attr:`Database.system_js`,
        manual instantiation of this class should not be necessary.

        :class:`SystemJS` instances allow for easy manipulation and
        access to server-side JavaScript:

        .. doctest::

          >>> db.system_js.add1 = "function (x) { return x + 1; }"
          >>> db.system.js.find({"_id": "add1"}).count()
          1
          >>> db.system_js.add1(5)
          6.0
          >>> del db.system_js.add1
          >>> db.system.js.find({"_id": "add1"}).count()
          0

        .. note:: Requires server version **>= 1.1.1**

        .. versionadded:: 1.5
        """
        # can't just assign it since we've overridden __setattr__
        object.__setattr__(self, "_db", database)

    def __setattr__(self, name, code):
        self._db.system.js.save({"_id": name, "value": Code(code)}, safe=True)

    def __delattr__(self, name):
        self._db.system.js.remove({"_id": name}, safe=True)

    def __getattr__(self, name):
        return lambda *args: self._db.eval("function() { return %s.apply(this,"
                                           "arguments); }" % name, *args)

    def list(self):
        """Get a list of the names of the functions stored in this database.

        .. versionadded:: 1.9
        """
        return [x["_id"] for x in self._db.system.js.find(fields=["_id"])]


text:
Legal data exploitation
R&D 'skunk works'
☎ +44 2036 377510
Skunk works
We have a strong track record of helping businesses to take legal engineering solutions from idea conception to deployment in a live environment.
We use our skills as legal engineers to rapidly develop solutions using iterative agile methodologies.
The benefits of this approach to our clients include a reduced time to market, increased return on investment & reduced risk.
Most of our skunk works projects are client confidential, but a good example of our skills in this area can be seen in our successful Online Courts hackathon win: here
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text:
François-Xavier-Anselme Trudel, né le  à Sainte-Anne-de-la-Pérade et mort le  à Montréal, est un avocat et un homme politique québécois.

Biographie

Trudel étudie au Séminaire de Nicolet de 1852 à 1859. Il est élu député de la circonscription de Champlain en 1871. Il ne s'est pas représenté en 1875 car il est nommé sénateur au Sénat du Canada la même année.

Œuvres
Auteur du programme catholique, il tenait résolument à donner une âme chrétienne aux institutions politiques de la nation.

Notes et références

Voir aussi

Liens externes

 Notice biographique de l'Assemblée nationale du Québec

Député du Parti conservateur du Québec
Naissance en avril 1838
Naissance en Mauricie
Décès en janvier 1890
Décès à Montréal
Décès à 51 ans

redpajama_set_name: RedPajamaWikipedia


Yeovil Town manager Darren Way spoke to BBC Somerset reporter Rob Scanlon just before kick-off against Stevenage on Saturday 28th October 2017. Yeovil went on to win the match by a 3-0 scoreline.
RS: An encouraging performance against Chelsea Under-21s in midweek. You said you had some big decisions to make, so what have you decided to do?
DW: We've made one or two changes. I think the game will be completely different to Chelsea (Under-21s). I think the style of play is completely different. Stevenage have got some good players that we've got to be aware of. We've only lost once at home, so we've had good form. We just want to make sure that we maintain that.
RS: Chelsea Under-21s are a development side, and are still passing the ball around, whereas Stevenage play 4-4-2 and will mix it up a bit more.
DW: Yes, they've got pace in the wide areas, where they've caused us one or two problems with individuals over the last two seasons. Technically they are very gifted. They'll throw at least four runners forward all the time. But we've just got to make sure that we exploit that space on the counter.
RS: Ryan Dickson came off at half time against Barnet with a bit of concussion. How is he?
DW: He's been doing okay, but unfortunately he is not going to be involved today. So someone else will have that opportunity, and it's important that they take that.
RS: Matt Worthington impressed against Chelsea with a Man of the Match performance - has he done enough?
DW: Yes, Matt is a very good player. It takes time when you come from Under-23s football into League Two football. He's had some good games and he's had some not so effective games, but his game on Wednesday against Chelsea was very very good. So hopefully, fingers crossed, with a League Two encounter and how physical the game can be at times, he can put in a real good performance today.
RS: There's pressure now from the guys on the bench, who impressed in midweek. The first team have perhaps got people breathing down their necks?
DW: I think we've always had that from the start of the season. That's why there's been a little bit of inconsistency with team selection. You've got Omar who has probably played three games now, and is making it a fourth today. Unfortunately Sid had his nose done, so he has to step out now. But it's a problem I've caused myself, which is a good problem to have, because last year I didn't have that. Every player keeps fighting for their place, and that's good to have.
RS: When you assess Stevenage, you're a little bit apart in the league table, but looking at the two squads, there doesn't seem too much difference in quality. Do you think you're not far away from getting to that?
DW: I just think that with the squad that we've recruited, with a big number of players turning over, that I have to be patient as a manager. With the young players that we've got, they're going to make mistakes, and the experience that they're gaining is going to improve them. Stevenage have had their players together for some time now. You can see that, but it's a game that today is going to be very tight, which a lot of the games have been in League Two - Cambridge, and we've had Grimsby. It's important that my players make sure that they show a lot of discipline defensitvely, and make sure that we exploit their weaknesses with the attackers that we've got in our team.
RS: Just finally, a youngster on the bench, because Jonny Maddison, the goalkeeper, picked up an injury yesterday, you were telling me.
DW: Yes, he picked up an injury. It was a problem that we had last year, so Tom (Scott) will come in. It will be a good opportunity for him. Hopefully we won't have to use that, but I'm sure he'll be ready if we do.


Rinse tomatoes. Cut off a lid. With a spoon, scoop out and discard most of the seeds and pulp. Sprinkle tomato shells with salt. Place upside down on a plate to drain.
Place the White Tuna in a bowl. With a fork, combine tuna and mayonnaise until smooth and creamy.
Season to taste with lemon juice, chives, mustard and olives.
Spoon tuna mixture into tomatoes. Place the lid on top. Let tomatoes sit for a short while before serving.


text:
Marsha M. Linehan, PhD, ABPP, is the developer of Dialectical Behavior Therapy and a professor of psychology, adjunct professor of psychiatry and behavioral sciences, and director of the Behavioral Research and Therapy Clinics at the University of Washington. Her primary research interest is in the development and evaluation of evidence-based treatments for populations with high suicide risk and multiple severe mental disorders. Dr. Linehan's contributions to suicide research and clinical psychology research have been recognized with numerous awards, including the Gold Medal Award for Life Achievement in the Application of Psychology from the American Psychological Foundation, the Scientific Research Award from the National Alliance on Mental Illness, the Career/Lifetime Achievement award from the Association for Behavioral and Cognitive Therapies, and the Grawemeyer Award for Psychology. In 2018, Dr. Linehan was featured in a special issue of Time magazine, "Great Scientists: The Geniuses and Visionaries Who Transformed Our World."
Sign me up for news from Penguin Random House including news about Marsha M. Linehan
Books by Marsha M. Linehan
Building a Life Worth Living - By - Marsha M. Linehan


text:
Q: FOREX: How to convert a USD denominated price per pip, per Lot, into EUR? I am asking for a FOREX trading account, being in EUR currency.
I know that 1.00 lot is 10 USD per one pip, 0.10 lot is 1 USD per one pip and 0.01 lot is 0.1 USD per one pip.
But since my account is in EUR,
1.00 lot is how many EUR per pip?
0.10 lot is how many EUR per pip?
0.01 lot is how many EUR per pip?
Is it the same?

A: Facts
Given the actual value of the principally variable EURUSD exchange rate is 1.06000 at the moment, the pip value per lot is USD 10.
That means one gets USD 10.60 for each EUR 10.00 brought to exchange.
Answer
You need to pay 9.43 EUR to receive those USD 10, plus some transactional costs ( either deferred or hidden in spread markup et al ), that are itemised and stipulated in Terms and Conditions agreed with your Bank / Broker of choice.
Thus one needs, in the above idealised / simplified case:

*

*EUR 9.43 per pip per 1.00 standard Lot

*EUR 0.94 per pip per 0.10 standard Lot

*EUR 0.09 per pip per 0.01 standard Lot

Explicit Caution

One ought rather always check and double-check all applicable trading Terms & Conditions with the respective Bank or Broker of one's choice Representative, as additional conditions may and do apply. If in any doubts, do request a written, signed official statement about any fact, steps and measures that one is not absolutely sure about, so as to avoid any later adverse impact in case some divergent trade-execution or NTO practice may appear in some specific cases.


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fingers polish mania: I don't do Pink!
I am not a girl who wears pink polish. Nothing against my favorite blogs that do "Pink Wednesdays!" Once in a while, I do a French manicure with a sheer pink but funky colors are more my thing. Today, for my anti pink day, I chose Rescue Beauty Lounge 360. This color reminds me of dark turquoise. I just have to rave about the perfect formula that is Rescue Beauty Lounge polishes. Yes they are expensive, but oh so awesome. The polish is the perfect consistency, just flows onto the nail with smooth self leveling. The brush is a dream and puts the polish exactly where you want it. There is no comparison between this brand and all the others. It is my absolute favorite to work with. I confess I have a small fortune invested in their polish. I tell myself that when I buy them during the yearly half off sale, I'm saving money. Of course, like all addicts, some colors are too pretty to wait for!


The title of this plan of proposed residential developments at St John's Wood, appears in a tablet at bottom left. A key to the dimensions appears in a tablet at bottom right, with scale noted at the foot of the plate. The revolutionary layout of the estate included a grand circus (never built) surrounded by semi-detached properties.


text:
Producers Index / Lulu Miller
Lulu Miller
Lulu Miller (@lmillernpr) was an NPR Science Desk Reporter until 2015, when she joined NPR Science Correspondent Alix Spiegel to co-host Invisibilia.
Invisibilia is a new series from NPR about the unseen forces that control human behavior – our ideas, beliefs, assumptions, and thoughts. She started her radio career as a producer for Radiolab .
Locusts!
There's a feeling you get when you encounter a swarm of insects.
The central claim of this story is astounding: that if we all just raised our expectations, blind people could come to - literally - see.
BEHIND THE SCENES with Lulu Miller and Alix Spiegel
Invisibilia is a show about "the invisible forces that shape human behavior." Can you talk a little more about what this means?
Re:sound #192 The Waiting Show
This hour, waiting. Waiting in line, waiting for an organ transplant and waiting for a bus that's never, ever going to come.
2014 Third Coast / Richard H. Driehaus Foundation Competition
This year we honored the best audio work in the following categories: Best Documentary (Gold, Silver, Bronze, Honorable Mention), Directors Choice, Best New Artist, Best News Feature and Radio Impact. Additionally, Ira Glass of This American Life created The Little Mermaid Award to honor beautifully produced work that is out for fun.


We are on the next step of our campaign, PROMOTION!
We started to put together a small film last year and now we need to put the finishing touches to it and as always we need your help to make it the best we can.
The aim is to get everyone together to start for 12.30pm and to collectively shout out a few words to the camera – Something like 'please donate now' please help us' etc.
We need to show the community at its best – we need a fantastic mix of residents, people from all generations filling up the park and showing your best smiles!
It won't take long to film at all and it will be nice to all get-together!
As with any filming, there will be a consent form that you would need to fill out, just confirming that you are happy to appear in the film. I will try and get as much paperwork done beforehand, but will also have forms with me on the day. Please do not forget to fill one out.
Thank you everyone – we have got to keep going.
SUNDAY 10TH 12.30PM // KENNET WAY PARK.


text:
Bajour Agency refugees in Peshawar
Posted on May 25, 2010 by assedbaig
This video was shot at the same time as the article 'Refugees and the War on Terror' in January 2009. It was meant to accompany the article.
Welcome to Palestine: A First Hand Account of Arbitrary Detention
I saw the green Israeli military jeep speeding down the Israeli road towards us, the roar of its engine had alerted the Palestinian farmers who had taken cover under a tree, but there were two fences between us. They're probably just coming to see what we are doing, I told myself. The two soldiers got out of their vehicles M16s in hand, helmets on their heads and their bullet proof vests fastened. They opened the gates and entered the buffer zone between the two fences, and then they opened the second gate and entered Palestinian territory.
Some of the British students taking a walk through the farm, looking at the ancient olive trees, ran as soon as they saw the soldiers. One of the soldiers ran towards me and grabbed me, he attempted to twist my arm behind my back, pushing and shoving me, I resisted. "Stop!" he shouted in my face, all the time trying to twist my arm into some sort of lock. Some of the students protested, but the two soldiers had already grabbed the two brown people in the group and were quickly trying to push us into Israeli territory.
As I resisted mildly, the soldier showed me a small white container that he held in his right hand, "I will use it!" he shouted. I assumed it was CS spray and I did not fancy getting sprayed with it so I had no option but to comply with what their demands. In a matter of minutes a midday stroll through a Palestinian farm, looking at the ancient olive trees with their thick intertwining trunks, trunks that generations of Palestinian farmers have rested against, had turned into an Israeli incursion onto Palestinian territory to snatch a British journalist and five students. The Israeli road serves only the settlement, perched high on the hill top, shaped like a medieval fortress, looking down on the Palestinians, serving as a constant reminder of the inequality they face.
Six of us were dragged into Israeli territory as more jeeps arrived, rushing down the road, soldiers dismounted, M16s in hand, fingers on the triggers, steely eyed and intent. We tried to explain that we were British citizens and that they could not do this. "This is Israeli territory," said the soldier. "Yes it is, but we were just in Palestinian territory until you dragged us here," I protested, the soldier just looked away. "You damaged the fence," said sharply a blue eyed soldier, he looked Eastern European but I could not be sure. We had got close to the fence, but damaged it? That was stretching it, nevertheless this was the official reason they were using to hold us. The soldiers captain arrived, an older man in his mid-thirties of large build. He said his name was Munir, an Arab – Israel regularly recruits Bedouin Arabs from the northern Sinai.
Munir began to ask us for our passports, we told him that we did not have our passports on us – we were not going to hand our passports over to the Israelis, especially since the cloning incident and the foreign office advice not to give our passports to the Israelis- the last thing we wanted was for our names to show up as would be assassins in some foreign country.
Munir questioned me again and again as to my nationality, he found it hard to believe that I was British- it must have been my permanent sun tan. He spoke to us in Arabic, but when we said we did not speak Arabic he asked again but louder, "Are you sure?" he said in Arabic repeatedly. Telling them that I spoke Arabic would open up another barrage of questions that I wanted to avoid.
We were taken to a checkpoint as the sun beat down on us. One soldier was kind enough to bring us a bottle of water, two of the women were taken to a toilet when they asked. We waited in the sun, sitting on the floor using the curb as a seat. We realised that the Israelis had a problem. They had just carried out an incursion onto Palestinian territory that under the Oslo agreement the Palestinian authority and snatched six British citizens. The Israelis may have thought that two of us, being of Asian origin, were Palestinian, but they had made a mistake.
Munir, the captain, got in his jeep and drove away. We waited and watched as another army jeep turned up and they began to empty out the content of one jeep to another. We thought they were emptying out for us, to transport us to another location. By this time we had rung the British consulate. The consulate told us that there was not much that they could do and would give us some names of some lawyers but we had to pay and that they would get back to us the next morning! Good old British foreign service.
A soldier wearing a skull cap came over and asked for our names, we gave them, he did not ask us to spell them. Then, just as we had suddenly been snatched, they escorted us to the gate, and the huge gate opened, "Welcome to Bethlehem," said the soldiers. We were free. Relieved, hot and tired, we had just tasted and had a very small insight to what it must be like to be a Palestinian. Throughout our time at the checkpoint we could hear Palestinians at the gate and now we had seen the wall from both sides. Welcome to Palestine.
The Israeli Occupation: The Bubble Has to Burst
The Israeli occupation of Palestine has forced Palestinians to live in isolated bubbles, cutting off their struggle from those outside of the major cities, where life has become bearable since the Oslo agreement but has resulted in Palestinians being cut off from each other as settlements criss-cross Palestinian land cutting off one village, one town, one city from another. Profound parallels to Bantustans of apartheid South Africa can be seen.
Lavish houses can be seen in the Palestinian administered territories, three stories high, large front gardens, gated entrances, and nice cars to match. The city of Ramallah is a busy bustling city where the Palestinian administration is based. Round the corner from the tomb of Yasser Arafat a shepherd watches over his sheep on a small patch of green area.
Sulaiman is 80-years-old and reminds me that he is still strong and healthy, behind him, in the distance, stands a tall apartment building. Sulaiman is the old face of Palestine – still resisting in whatever way he can in the face of the new wave of money pouring into the West Bank. However, the acceptance of foreign American cash comes at the cost of accepting the occupation in exchange for American money. People here are talking of a third intifada, but there seems to be no appetite for it from the Fatah controlled Palestinian authority.
Settlements are increasing, not only in East Jerusalem but around Palestinian towns, settlements that will prevent the growth of Palestinian towns, settlements that are built on Palestinian land, settlements that are linked by Israeli only roads that Palestinians are not allowed to travel on, settlements that have stolen Palestinian water delivered to them, whilst Palestinians cannot get permission to even dig a well and have to deal with intermittent water supply for five times the cost, settlements whose inhabitants are armed and have, in the past, used their firearms to kill Palestinians.
So as Salam Fayyad, the Palestinian Prime Minister, formerly of the World Bank, pro-western and unelected, appointed by Mahmoud Abbas, Palestinian National authority president, lavishes in his lush surroundings and is rushing to declare some sort of state within two years, but what kind of state is he going to declare? A state with no control over their borders, air space, a state with Israeli military checkpoints outside their cities, a state whose people are cut off from each other by an illegal wall?
There are refugees who have been living in camps since 1948, camps like Belatta in Nablus. After the Nakba or catastrophe, this camp initially housed 5,000 refugees on 1 square kilometre of land, but now, more than 60 years later the population has grown to 25,000. Yet the population has increased with now second generations of Palestinians living here the land on which they are housed has not grown – they still live on the original square kilometre the camp was established on. The air in the camp is close and the alleyways are claustrophobic. There is no privacy or room to move, the children play in alleys rather than playgrounds. Moving out of the refugee camp is not an option, it would mean an acceptance that the refugees of 1948 do not have a right of return, that they cannot return to their villages, homes, farms that their grandparents once farmed, that they as children once played on and continue to pray that their children will return to.
"The Next Intifada Will take place Between the Villagers and the Settlers"
Salam Fayyad has set his sights on securing foreign investment for Palestine, American and others. The streets have 'US Aid' bill boards telling people of the importance of US aid. But outside cities like Ramallah and Nablus talk of the third intifada is rife. Whilst many Palestinians are living in the bubble, sometimes even forgetting about the 400 checkpoints, new settlements are popping up, and expansion in East Jerusalem villagers continues.
"The next intifada will take place between the villagers and the settlers," a student at Al Najah tells me, who did not want to be named. We are whisked around Al Najah University by the administration, the pro-Fatah administration, showing us their new gym and swimming pool, but students look on in surprise as they have never seen the facilities opened before, they are just for show. Recently the university had elections for its student council, Fatah students won, simply because all other political groups had been banned and then decided to boycott the elections, information the university administration keeps from me, but students are keen to share.
For a university that was at the heart of resistance during the occupation, it has become increasingly repressive to those that are not towing the Fatah line. The university was closed during the first intifada – between 1988-1991 – as tanks occupied its premises, and lecturers were forced to conduct their classes in houses, mosques and even cars. It seems that people have forgotten that at one time the Israeli military arrested people that carried books in the streets, because they had realised that the military order to close the university was not enough to stop Palestinians trying to gain an education.
This is the reality of the past and the present. Villagers are seeing their land taken away, even as Fayyed belly dances around the west asking for handouts so that the Palestinian authority can consolidate its power. A former Israeli prison in Nablus is now a prison run by the Palestinian Authority, where no doubt political opponents are now housed.
Every year droves of tourists visit places like Jerusalem and think that all is fine, you will see soldiers but people will think that is to be expected. But the bubble needs to burst, the bubble that the city Palestinians are living in, the bubble that the Palestinian Authority has created, the bubble the Israeli government is counting on, so that it can further its actions of annexed land, increasing settlements and continuing the occupation of Palestine.


text:
Al-Qaeda Leader Praises White Helmets As "Hidden Soldiers Of The Revolution"
Hilary Clinton says if Republicans don't vote for impeachment they are affirming that Trump is 'above the law'
The 10 Primary Directives of Mainstream Media
The White Helmets are nothing more than a propaganda wing of al-Qaeda itself, funded by Western governments and NGOs for the purpose of creating false narratives and shock videos designed to manipulate the Western public.
Brandon Turbeville | Activist Post
Published on May 9, 2017
As hard as the Western corporate media works to employ propaganda techniques and tragic narratives with which to convince their respective populations that the terrorists funded by Western governments fight against the Syrian government are actually democracy-loving freedom fighters and selfless activists, more and more revelations come to light showing the true nature of heavily hyped groups like the White Helmets.
Indeed, it seems that, every week, another piece of evidence emerges revealing the White Helmets to be nothing more than a wing of al-Qaeda/al-Nusra designed to produce clever propaganda videos to tear at the usually hardened heartstrings of unsuspecting Americans. After having been exposed for housing themselves in the same building as Nusra/Qaeda, carrying weapons (also see Vanessa Beeley's article here), using dangerous and erratic rescue and emergency techniques, proudly proclaiming support for terrorists and the desire to see Syrian military personnel killed, the White Helmets went on to sign documents and proclamations in support of Nusra in its effort to prevent civilians from access to drinking water.
Now, a little-known video made by the leader of Tahrir al-Sham (al-Qaeda in Syria), Abu Jaber, on March 16, 2017, is making the rounds of social media, showing Jaber praising the White Helmets as the "hidden soldiers of the revolution" and thanking them for what they do.
"Second, a message of thanks and gratitude to the hidden soldiers of our revolution," Jaber said. "On top of the list are the parents of the martyrs and the men of the White Helmets."
The question then becomes, "If the White Helmets are so unbiased, why does Tahrir al-Sham consider them to be heroes of the 'revolution?'" Certainly, al-Qaeda would not consider any organization who assists civilians instead of solely the bearded soldiers of God as heroes of their movement. The answer, of course, is simple. The White Helmets are nothing more than a propaganda wing of al-Qaeda itself, funded by Western governments and NGOs for the purpose of creating false narratives and shock videos designed to manipulate the Western public.
If there was any doubt about the true nature of the White Helmets, I suggest reading my previous articles on the group as well as Vanessa Beeley's excellent work on the same topic.
Suggested articles:
The Real Syria Civil Defense VS The White Helmets – Brandon Turbeville
MSM Attempts To Promote White Helmets While Hiding Syria Civil Defense – More 'Fake News' From Corporate Press – Brandon Turbeville
White Helmets NGO: A "Rescue And Assist" Operation Under Guise Of Human Rights – Brandon Turbeville
White Helmets Video And Supporters' Demonstrations Confirm Lack Of Credibility – Brandon Turbeville
The REAL Syria Civil Defense Exposes Fake "White Helmets" As Terrorist-Linked Imposters – Vanessa Beeley
The White Helmets "Black Record:" Vanessa Beeley Talks To RT About French Gov't Collusion With Al-Qaeda-Linked Group – Vanessa Beeley
Who Are Syria's White Helmets? – Vanessa Beeley
Interviews With Syrian Civilians Reveal White Helmets And Nusra/al-Qaeda Are The Same Thing – Brandon Turbeville
Image Credit: 21st Century Wire
Brandon Turbeville – article archive here – is the author of seven books, Codex Alimentarius — The End of Health Freedom, 7 Real Conspiracies, Five Sense Solutions and Dispatches From a Dissident, volume 1 and volume 2, The Road to Damascus: The Anglo-American Assault on Syria, The Difference it Makes: 36 Reasons Why Hillary Clinton Should Never Be President, and Resisting The Empire: The Plan To Destroy Syria And How The Future Of The World Depends On The Outcome. Turbeville has published over 1000 articles on a wide variety of subjects including health, economics, government corruption, and civil liberties. Brandon Turbeville's radio show Truth on The Tracks can be found every Monday night 9 pm EST at UCYTV. His website is BrandonTurbeville.com He is available for radio and TV interviews. Please contact activistpost (at) gmail.com.
Contributed by Brandon Turbeville of www.activistpost.com.
Related Topics:Abu Jaber, al qaeda, Al-Nusra, ngo, propaganda, Syria, Tahrir al-Sham, terrorism, White Helmets
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