Poor Jessie has sadly been returned to us at a rather late stage of her life but hopefully has several years left yet! She's a perfect house guest, friendly, quiet, clean, calm & happy to cuddle on the couch with you. Outside she's a star to walk she doesn't pull or bark and is happy to meet and greet. She doesn't have any recall, we don't think she's ever been allowed off lead and her hearing is deteriorating now.
Jesse is happy with respectful dogs & children, though at her age, doesn't need any rough play. No cats. Absolutely outstanding little lady!


Following the footpath of the two previous editions, the Molins Horror Film Festival will include a Room Escape among its activities for this year's edition. The event will be connected with the festival's leitmotiv. It will be held next Nov 10th, at 17:00pm at the Sala Gòtica, one of the home places of Molins Film Festival 2018.
On this occasion, that space will host the Room Escape "Carrie", which will base its plot in the well known film by Brian De Palma.
It is going to be a Room Escape in a macro format, with a capacity for 60 people who will simultaneously play to face a limit situation for one full hour.
The experience will cost 20€ each.
Apply there and the organisation will contact you to formalise your attendance. You can also write to info@beteam.es or phone 644728242.
Will you stand the challenge?


(Blogger's Note: The 2009 Grammy Awards will be airing on Sunday, February 8, and one of those who will be on the edge of their seat will be independent soul artist Wayna. The single "My Love" from her sophomore album"Higher Ground" debuted at #18 on the hot singles sales chart on Billboard and also #2 on the Billboard Hot R&B/Hip Hop chart. This meteoric success earned her a Grammy nomination in the category of Best Urban Alternative.
Wayna: Yes. My parents immigrated to the U.S. when I was three years old. It was during the time of the Revolution so there was a mass exit taking place. My parents, like others, had only planned to make the U.S. a temporary home in hopes that things would get better back in Ethiopia but that didn't work out. It became a permanent home.
Wayna: Well, I attended the University of Maryland to double major in English and Communications. I worked on President Clinton's campaign for six months. I then worked in the White House for 3 years as a writer. I was apart of the team that wrote Presidential letters and messages on his behalf, proclamations and special letters to high profile people. I then was assigned to writing in areas that focused on the economy, taxes, and international relations.
Wayna: I think all artist have to confront internal hurdles. The questions of "Am I ready?", "Will I be successful?", "Should I wait?" and more come across your mind. I believe once you overcome your internal obstacles, you can overcome anything else. Just have a pure heart and get yourself out of your own way. I started out under a small indie label but I felt I wasn't top priority so I got a small job, saved up my money and invested into myself.
As far as work ethic, you have to give 120 percent. Most people just want the cameras and red carpet moments but don't understand the hard work it takes to get the end results. Such as the late nights at the studio and having to learn the things you may not want to just to accomplish the goal. I had to learn things like ProTools, engineering skills, and technological equipment.
Brother Jesse: Speaking of the Grammy Awards, you are one of this year's nominees for Best Urban Alternative. How did you get the news and how did it feel?
Wayna: I was actually in South Africa at the time of the announcements, so I couldn't watch it on television. But when I received the news I flipped out! I was running around the hotel with so much joy! I was in a daze for three days. What a blessing.
Wayna: I want them to walk away thinking deeper on meaningful subject matter. For instance, the song My Love was inspired by an article I read in the October '06 issue of Essence Magazine entitled The Secret Shame of Prince George's County, which exposed the prevalence of domestic violence in Prince George, that is considered to be the richest Black county in the US.
Weapons of Mass Instruction: Twitter Quotes to start your day off right….and make you think a little too!


Sablé Breton French butter cookie recipe | eat. live. travel. write.
For French Fridays today, I'm bringing you a favourite cookie recipe that, admittedly, I tend to purchase when I'm in France (because really good ones are so readily available!) but over the past year or so, I've been playing around with a homemade version that I'm finally happy to share (and – uh oh – now I know how easy they are, we're all in trouble here!). I taught a version of this recipe in my baking classes leading up to the holidays (for adults and also my students) and everyone loved them.
And speaking of ingredients, these cookies only have a few – flour, butter, eggs and sugar – so it's important to make sure you use the best quality you can. In the case of the butter, you're using SALTED butter – European-style if you can find it (that's a butter with 82% butterfat or more – here's a great explanation of the difference between our butter and European butter). Even though we're using salted butter, I've also added a pinch of flaky sea salt to the recipe simply because I love the burst of salt a flaky sea salt gives to a cookie. Maldon is easy to find (and increasingly, French salt is easier to find outside France too) but if you're in France anytime, it's a pretty great souvenir to pick up!
These cookies don't require a rest in the fridge (which is one of the reasons I love them!) but if you're working in a warm kitchen or climate, the dough might benefit from a spell in the fridge after you've rolled then but before you cut them out.
Flaky, buttery French shortbread cookies. The secret is in the salted butter!
Preheat the oven to 375°F. Line two baking trays with parchment paper.
Beat the butter, salt and sugar with electric hand beaters on medium speed until light and fluffy (2-3 minutes).
Add the egg yolks, one at a time and mix on medium speed until fully incorporated. The mixture may look slightly curdled but just keep mixing! Add the vanilla.
Add the flour and continue to mix on low speed just until the dough just starts to come together.
Place the dough on a lightly-floured work surface. Bring the dough together in a ball, then divide in half and flatten to make two disks.
Roll one disk of dough out until it's about 1/4-inch thick.
Use 2-inch (5cm) round cookie cutters to cut out approx. 18 cookies from the first sheet of dough . Place the cookies on a baking tray. You might need an offset spatula for this job.
Use the tines of a fork to make a cross-hatch pattern on the cookies (drag the tines vertically then horizontally across the top of the cookies). Brush the tops of the cookies gently with the egg wash (you don't want it to drip down the side as it will prevent the cookies from rising).
Repeat with the second disk of dough.
Bake the cookies for 15-18 minutes, until golden on top.
Remove the cookies from the oven, place them on a wire cooling rack and allow to come to room temperature.
Cookies will keep at room temperature in airtight containers for 3-4 days.
Perfect with a glass of milk, an espresso or a cup of tea!
Please note: I am a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means to earn fees by linking to Amazon.com and affiliated sites. This means that if you click over and purchase something, I will receive a very small percentage of the purchase price (at no extra cost to you). Thank you in advance!
OMG, those look so amazing! !! Definitely going on my tbb (to be baked) list!


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text:
For other uses, see Mount Carmel (disambiguation).
Not to be confused with Carmel (biblical settlement).
Mount Carmel (Hebrew: הַר הַכַּרְמֶל, Har HaKarmel, ISO 259-3: Har ha Karmell; Arabic: الكرمل, Al-Karmil, or Arabic: جبل مار إلياس, Jabal Mar Elyas, lit. Mount Saint Elias/Elijah) is a coastal mountain range in northern Israel stretching from the Mediterranean Sea towards the southeast. The range is a UNESCO biosphere reserve. A number of towns are situated there, most notably the city of Haifa, Israel's third largest city, located on the northern slope.
Hebrew: הר הכרמל Karem El/Har Ha'Karmel
Arabic: الكرمل/جبل مار إلياس Kurmul/Jabal Mar Elyas
Mount Carmel at sunset, as seen from the entrance of Kibbutz Ma'agan Michael
525.4 m (1,724 ft)
39 km (24 mi)
8 km (5.0 mi)
Range coordinates
32°44′N 35°03′E / 32.733°N 35.050°E / 32.733; 35.050Coordinates: 32°44′N 35°03′E / 32.733°N 35.050°E / 32.733; 35.050
Type of rock
Limestone and flint
A view of Mount Carmel in 1894.
University of Haifa atop Mount Carmel
Shrine of the Báb, the Baha'i Gardens and Terraces, and the German Colony.
The name is presumed to be directly from the Hebrew language word Carmel (כַּרְמֶל), which means "fresh" (planted), or "vineyard" (planted).
Geography and geologyEdit
The phrase "Mount Carmel" has been used in three distinct ways:[1]
To refer to the 39 km-long (24-mile long) mountain range, stretching as far in the southeast as Jenin.
To refer to the northwestern 19 km (12 mi) of the mountain range.
To refer to the headland at the northwestern end of the range.
The Carmel range is approximately 6.5 to 8 kilometres (4.0 to 5.0 miles) wide, sloping gradually towards the southwest, but forming a steep ridge on the northeastern face, 546 metres (1,791 feet) high. The Jezreel Valley lies to the immediate northeast. The range forms a natural barrier in the landscape, just as the Jezreel Valley forms a natural passageway, and consequently the mountain range and the valley have had a large impact on migration and invasions through the Levant over time.[1] The mountain formation is an admixture of limestone and flint, containing many caves, and covered in several volcanic rocks.[1][2] The sloped side of the mountain is covered with luxuriant vegetation, including oak, pine, olive, and laurel trees.[2]
Several modern towns are located on the range, including Yokneam on the eastern ridge, Zikhron Ya'akov on the southern slope, the Druze communities of Daliyat al-Karmel and Isfiya on the more central part of the ridge, and the towns of Nesher, Tirat Hakarmel, and the city of Haifa, on the far northwestern promontory and its base. There is also a small kibbutz called Beit Oren, which is located on one of the highest points in the range to the southeast of Haifa.
Panorama of the Carmel mountain range
Paleolithic historyEdit
As part of a 1929–1934 campaign,[3] between 1930 and 1932, Dorothy Garrod excavated four caves, and a number of rock shelters, in the Carmel mountain range at el-Wad, el-Tabun, and Es Skhul.[4] Garrod discovered Neanderthal and early modern human remains, including the skeleton of a Neanderthal female, named Tabun I, which is regarded as one of the most important human fossils ever found.[5] The excavation at el-Tabun produced the longest stratigraphic record in the region, spanning 600,000 or more years of human activity.[6] The four caves and rock-shelters (Tabun, Jamal, el-Wad, and Skhul) together yield results from the Lower Paleolithic to the present day, representing roughly a million years of human evolution.[7] There are also several well-preserved burials of Neanderthals and Homo sapiens and passage from nomadic hunter-gatherer groups to complex, sedentary agricultural societies is extensively documented at the site. Taken together, these emphasize the paramount significance of the Mount Carmel caves for the study of human cultural and biological evolution within the framework of palaeo-ecological changes."[8]
In 2012, UNESCO's World Heritage Committee added sites of human evolution at Mount Carmel to the List of World Heritage Sites.[9][10][11] The World Heritage Site includes four caves (Tabun, Jamal, el-Wad, and Skhul) on the southern side of the Nahal Me'arot/Wadi El-Mughara Valley. The site fulfils criteria in two separate categories, "natural" and "cultural".[10]
As a strategic locationEdit
View from Carmel to Haifa.
Due to the lush vegetation on the sloped hillside, and many caves on the steeper side, Carmel became the haunt of criminals;[1] Carmel was seen as a place offering an escape from God, as implied by the Book of Amos.[1][12] According to the Books of Kings, Elisha travelled to Carmel straight after cursing a group of young men because they had mocked him and the ascension of Elijah by jeering, "Go on up, bald man!" After this, bears came out of the forest and mauled 42 of them.[13] This does not necessarily imply that Elisha had sought asylum there from any potential backlash,[1] although the description in the Book of Amos, of the location being a refuge, is dated by textual scholars to be earlier than the accounts of Elisha in the Book of Kings,[14][15] and according to Strabo it had continued to be a place of refuge until at least the first century.[16]
According to Epiphanius,[17] and Josephus,[18] Mount Carmel had been the stronghold of the Essenes that came from a place in Galilee named Nazareth; this Essene group are sometimes referred to as Nazareans, possibly akin to Nazarenes, which followed the teachings of Jesus (Yeshua).[19]
During World War I, Mount Carmel played a significant strategic role. The (20th century) Battle of Megiddo took place at the head of a pass through the Carmel Ridge, which overlooks the Valley of Jezreel from the south. General Allenby led the British in the battle, which was the turning point in the war against the Ottoman Empire. The Jezreel Valley had played host to many battles before, including the very historically significant Battle of Megiddo between the Egyptians and Canaanites, but it was only in the 20th century battle that the Carmel Ridge itself played a significant part, due to the developments in munitions.
Archaeologists have discovered ancient wine and oil presses at various locations on Mt. Carmel.[1][2]
As a sacred locationEdit
In ancient Canaanite culture, high places were frequently considered to be sacred, and Mount Carmel appears to have been no exception; Thutmose III lists a holy headland among his Canaanite territories, and if this equates to Carmel, as Egyptologists such as Maspero believe, then it would indicate that the mountain headland was considered sacred from at least the 15th century BC.[1] According to the Books of Kings, there was an altar to Yahweh on the mountain, which had fallen into ruin by the time of Ahab, but Elijah built a new one.[20] Iamblichus describes Pythagoras visiting the mountain on account of its reputation for sacredness, stating that it was the most holy of all mountains, and access was forbidden to many, while Tacitus states that there was an oracle situated there, which Vespasian visited for a consultation;[2] Tacitus states that there was an altar there,[1] but without any image upon it,[1][2] and without a temple around it.[2]
ElijahEdit
The Grotto of Elijah.
In mainstream Jewish, Christian, and Islamic[1] thought, Elijah is indelibly associated with the mountain, and he is regarded as having sometimes resided in a grotto on the mountain. Indeed, one name for Mount Carmel is جبل مار إلياس (Jabal Mar Elyas; Mount Saint Elias). In the Books of Kings, Elijah challenges 450 prophets of a particular Baal to a contest at the altar on Mount Carmel to determine whose deity was genuinely in control of the Kingdom of Israel. As the narrative is set during the rule of Ahab and his association with the Phoenicians, biblical scholars suspect that the Baal in question was probably Melqart.[21]
According to the Bible in 1 Kings, chapter 18, the challenge was to see which deity could light a sacrifice by fire. After the prophets of Baal had failed, Elijah had water poured upon his sacrifice to saturate the altar. He then prayed. Fire fell and consumed the sacrifice, wood, stones, soil and water, which prompted the Israelite witnesses to proclaim, "The LORD, He is God! The LORD, He is God!" In the account, Elijah announced the end to a long drought. Clouds gathered, the sky turned black and it rained heavily.
Though there is no biblical reason to assume that the account of Elijah's victory refers to any particular part of Mount Carmel,[1] Islamic tradition places it at a point known as El-Maharrakah, meaning the burning.[2]
Two areas have been hypothesized as the possible site for the story about the battle against the priests of Baal. The slaughter could have taken place near the river Kishon, at the mountain base, in an amphitheater-like flat area. The site where the offering took place is traditionally placed on the mountain above Yokneam, on the road to the Druze village of Daliyat el-Karmil, where there is a monastery, built in 1868, called El-Muhraqa ("the Sacrifice"). It is regarded as one of Haifa's must-visit tour sites.[22]
Although archeological clues are absent, the site is favored because it has a spring, from which water could have been drawn to wet Elijah's offering. There is also a sea view, where Elijah looked out to see the cloud announcing rain. However, the biblical text states that Elijah had to climb up to see the sea. There is an altar in the monastery which is claimed to be that which Elijah built in God's honor, but, that is unlikely, as it's not made of the local limestone.[23]
CarmelitesEdit
A statue of Elijah in the crypt of the monastery on Mount Carmel. According to Carmelite tradition, the crypt was originally the Cave of Elijah.
A Catholic religious order was founded on Mount Carmel in the 12th century, named the Carmelites, in reference to the mountain range; the founder of the Carmelites is unknown; in the original Rule or 'Letter of Life' given by Albert, the Latin Patriarch of Jerusalem who was resident in Acre, around the year 1210 this hermit is referred to simply as 'Brother B'; he probably died around the date 1210 and could have been either a pilgrim, someone serving out a penance or a crusader who had stayed in the Holy Land. The Order was founded at the site that it claimed had been the location of Elijah's cave, 1,700 feet (520 m) above sea level at the northwestern end of the mountain range;[1] this, perhaps not coincidentally, is also the highest natural point of the mountain range. Though there is no documentary evidence to support it, Carmelite tradition suggests that a community of Jewish hermits had lived at the site from the time of Elijah until the Carmelites were founded there; prefixed to the Carmelite Constitution of 1281 was the claim that from the time when Elijah and Elisha had dwelt devoutly on Mount Carmel, priests and prophets, Jewish and Christian, had lived "praiseworthy lives in holy penitence" adjacent to the site of the "fountain of Elisha" in an uninterrupted succession.
A Carmelite monastery was founded at the site shortly after the Order itself was created, and was dedicated to the Blessed Virgin Mary under the title of "Star of the Sea" ("stella maris" in Latin), a common medieval presentation of her.[1] Although Louis IX of France is sometimes named as the founder, he was not, and had merely visited it in 1252.[2] The Carmelite Order grew to be one of the major Catholic religious orders worldwide, although the monastery at Carmel has had a less successful history. During the Crusades the monastery often changed hands, frequently being converted into a mosque;[2] under Islamic control the location came to be known as "El-Maharrakah", meaning "place of burning", in reference to the account of Elijah's challenge to the priests of Hadad.[2] In 1799 the building was finally converted into a hospital, by Napoleon, but in 1821 the surviving structure was destroyed by the pasha of Damascus.[2] A new monastery was later constructed directly over a nearby cave, after funds were collected by the Carmelite Order for restoration of the monastery.[2] The cave, which now forms the crypt of the monastic church, is termed "Elijah's grotto" by the Discalced Carmelite friars who have custody of the monastery.[2]
One of the oldest scapulars is associated with Mount Carmel and the Carmelites. According to Carmelite tradition, the Scapular of Our Lady of Mount Carmel was first given to St. Simon Stock, an English Carmelite, by the Blessed Virgin Mary. The Carmelites refer to her under the title "Our Lady of Mount Carmel," and celebrate 16 July as her feast day.
Bahá'í FaithEdit
The Shrine of the Báb and its Terraces on Mount Carmel, 2004.
Mount Carmel is considered a sacred place for Bahá'ís around the world, and is the location of the Bahá'í World Centre and the Shrine of the Báb. The location of the Bahá'í holy places has its roots in the imprisonment of the religion's founder, Bahá'u'lláh, near Haifa by the Ottoman Empire during the Ottoman Empire's rule over Palestine.
The Shrine of the Báb is a structure where the remains of the Báb, the founder of Bábism and forerunner of Bahá'u'lláh in the Bahá'í Faith, have been laid to rest. The shrine's precise location on Mount Carmel was designated by Bahá'u'lláh himself and the Báb's remains were laid to rest on March 21, 1909 in a six-room mausoleum made of local stone. The construction of the shrine with a golden dome was completed over the mausoleum in 1953,[24] and a series of decorative terraces around the shrine were completed in 2001. The white marbles used were from the same ancient source that most Athenian masterpieces were using, the Penteliko Mountain.
Bahá'u'lláh, the founder of the Bahá'í Faith, writing in the Tablet of Carmel, designated the area around the shrine as the location for the administrative headquarters of the religion; the Bahá'í administrative buildings were constructed adjacent to the decorative terraces, and are referred to as the Arc, on account of their physical arrangement.
Ahmadiyya Muslim CommunityEdit
The Kababir Mosque.
The Ahmadiyya Muslim Community has its largest Israeli mosque on Mount Carmel known as the Mahmood Mosque in Kababir. It is a unique structure composed of two minarets.[25] The mosque was once visited by the president of Israel, Shimon Peres, for an iftar dinner.[26]
Mount Carmel National Park
Nahal Me'arot Nature Reserve
Mount Carmel Forest Fire (2010)
Sacred Heart Chapel, Haifa
Palestine Final Fortress
^ a b c d e f g h i j k l m n Cheyne and Black, Encyclopedia Biblica
^ a b c d e f g h i j k l m Jewish encyclopedia
^ Callander, Jane (2004). "Garrod, Dorothy Annie Elizabeth (1892–1968)". Oxford Dictionary of National Biography. Oxford University Press. Retrieved 2011-02-14.
^ "Timeline in the Understanding of Neanderthals". Retrieved 2007-07-13.
^ Christopher Stringer, custodian of Tabun I, Natural History Museum, quoted in an exhibition in honour of Garrod; Callander and Smith, 1998
^ "From 'small, dark and alive' to 'cripplingly shy': Dorothy Garrod as the first woman Professor at Cambridge". Archived from the original on 2009-02-28. Retrieved 2007-07-13.
^ "Excavations and Surveys / Prehistory Division". The Zinman Institute of Archaeology, University of Haifa. Retrieved 2016-04-18.
^ "The Zinman Institute of Archaeology – Excavations and Surveys". Arch.haifa.ac.il. Archived from the original on March 13, 2013. Retrieved 2009-01-19. CS1 maint: Unfit url (link)
^ "Newest UNESCO World Heritage Site-Carmel Caves" (Press release). Israel Ministry of Foreign Affairs. 2012-07-02. Retrieved 2016-04-19.
^ a b Sharon Udasin (2012-06-29). "4 Mount Carmel Caves Nominated to Join UNESCO". The Jerusalem Post. Retrieved 2016-04-19.
^ "Twenty-six new sites inscribed on UNESCO World Heritage List this year" (Press release). UNESCO. 2012-07-02. Retrieved 2016-04-19.
^ Amos 9:3
^ 2 Kings 2:25
^ Jewish Encyclopedia, Books of Kings
^ Jewish Encyclopedia, Book of Amos
^ Strabo, Geographica
^ Epiphanius of Salamis, Panarion 1:18
^ Josephus, War of the Jews
^ J Gordon Melton, Encyclopedia of American Religions
^ 1 Kings 18:30-32
^ Peake's commentary on the Bible
^ BI, Editor (2018-11-29). "Tour Haifa: 5 Must-Visit Sites in Haifa". Biz Israel.
^ "Mount Carmel". www.jewishmag.com. Retrieved 2016-01-30.
^ "Golden anniversary of the Queen of Carmel". Bahá'í World News Service. 2003-10-12. Retrieved 2007-05-12.
^ "Holy Sites in Haifa". Tour-Haifa. Retrieved 18 November 2010.
^ "Shimon Peres visits Ahmadiyya Mosque in Kababir Israel". youtube. Retrieved 4 December 2010.
Wikimedia Commons has media related to Mount Carmel.
UNESCO Biosphere Reserves Directory
Mount Carmel – BiblePlaces.com, pictures and text illuminating the biblical site
Retrieved from "https://en.wikipedia.org/w/index.php?title=Mount_Carmel&oldid=902263529"

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The US News Education department has calculated the Undergraduate Business Program by Spring 2012. We compare tuition costs of top 10 schools them as table below. You can see detail tuition and costs information of your desired schools by following its name.


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Every two years during the past decade, I have traveled to the Venice Biennial with the intent of writing something about it, but not right away. My strategy has always been to hang back for a bit and think about the exhibition, giving the bloggers and top-ten list chatterboxes the first words on the subject. Only then do I give my grave and deeply considered pronouncements, which in the case of the current iteration of the event, boil down to this: it is a respectable, predictable and boring affair. This might have to do with the national identity of its artistic director, Bice Curiger, the well-known founding editor of Zurich's Parkett Magazine, an eminently respected publication that has done much to promote the fortunes of major American and European artists during the past three decades, as well as engender and reflect a significant shift in the priorities of contemporary art patronage. There is a saying that signifies trouble-free operation: "smooth as a Swiss watch," and this Swiss watch of an art exhibition is as smooth as any cache of investment-grade artificial silk. A banker's delight, this oddly placid iteration of the Biennial reeks of the turning of the recent respectability of contemporary art into an empty fetish, as befits our moment's conflation of art fortunes and equity positions. The Biennial also contains a much larger percentage of dead artists than any of its recent predecessors.
Boltanski: another view of "Chance"
One of these is the 16th century Venetian painter Tintoretto, aka Jacobo Robusti nee Jacopo Comin (1518-1594), whose three large paintings are given pride of place in the main exhibition's Giardini Pavilion. These have been spirited over from the Academia and the choir of Santa Maria Maggiore, and seem intended to locate Biennial 54 in a specifically Venetian context, or possibly to make everything else in the exhibition seem more adventurous than it actually is (one remembers that in the 2007 iteration of Documenta, reproductions of paintings by Eduard Manet were interspersed throughout the exhibition, creating imaginary linkages between past and present). In another nearby room we can see an octet of paintings from the 1980s by the late Jack Goldstein, who died young a few years ago in particularly sad circumstances. Despite their vintage, these eerie landscape paintings featuring stunning atmospheric lights look surprisingly fresh, his airbrush technique presaging the look of computer-generated virtual reality long before it became a pictorial commonplace. The late Gianni Colombo (1937-1993) is also resurrected with the same piece that earned him the Golden Lion award at the 1968 Biennial: Spazia Elastico. The work is dark room subdivided with cubic grids of multi-colored fluorescent string, creating an illusion of infinite Cartesian space that also anticipated virtual reality illusions by almost two decades. Jeanne Natalie Wintsch (1871-1944), an incarcerated schizophrenic who is now being rehabilitated as a progenitor for feminist art practice; Gandewon (1939-1995); Guy de Cointet (1934-1983); and Sigmar Polke (1941-2010) round out the list of deceased artists whose work is included in the exhibition.
To be fair, it must be said that a largest share of the 84 artists (and artist groups) included in the two curated portions of Biennale were born in the 1970s, but in an even greater measure of fairness most of the work presented here looks like it was made in the 1970s, and by this I do not mean to refer to any moment of uncanny return, only mere redundancy of an etiquette-bound type. For example, look at the work of London-based sculptor Rebecca Warren, whose welded steel constructions are so very much in keeping with the school-of-Anthony Caro approach to sculpture that has been such a ubiquitous commonplace in British art for over four decades. Also look at the fluorescent light arrangements by Navid Nuur, and wonder about their relationship to the work of Dan Flavin and Bruce Nauman. The prize for minimization of artistic effort has to go to the suite of small collage works by Cyprien Gaillard, which, in Baldessarian fashion, feature two randomly selected tourist postcards and/or snapshots placed next to each other, connected by the overlay of one of many labels taken from exotic bottles of beer. And, even though Franz West was born in 1947, I still think that it is high time to ask why we keep seeing his stunningly unremarkable polychrome sculpture at this extravaganza every two years.
It is worth noting that Curiger has given her portion of the exhibition the title of ILLUMInations, with the lower case letters referring to the newly problematic status of nation states in these troubled times of stateless populations, free-flowing digital information and over-leveraged electronic fund transfer. A particularly clever example of the address of this topic was Latifa Echakhch's gauntlet of flagless flagpoles under which all of the exhibition's visitors had to walk before gaining entrance to the main pavilion. The piece gained a lot of resonance from the way it positioned itself in relation to the nationalist themes that are deeply inscribed in the Biennial's 108-year history, inaugurated not long before the modern Olympics were initiated in Athens. Echakhch's piece found some elegant companions in Maurizio Cattelan's Touristi (original version, 1997—expanded version 2011), that being a gaggle of several thousand stuffed pigeons deployed in the rafters of several buildings, and a trio of sugary video pieces by Pipilotti Rist, which meditate on the fate of Venice sinking into the sea.
Any exhibition as large as the Venice Biennial has got to have some high points, and there were some noteworthy ones here. At first glance, the paintings by Corinne Wasmuht looked a bit too much like Gerhard Richter's well-known abstractions, but the more attentive second glance was rewarded to find sumptuous surfaces that opened in into vast, magical spatial constructs. Never has there been a greater consensus about the Golden Lion award for artistic excellence. This year, it went to Christian Marclay's 24 hour mega-montage titled The Clock (2010), a video-film projection that incorporates thousands of short clips taken from the entire history of global cinema, each featuring scenes that include various clocks displaying exact increments of time. These are ordered into a sequence that, minute-by-minute, moves forward at the same speed as a real clock, synchronized to the actual time of day or night at the point of projection. It is a deeply absorbing piece that says much about how full or how empty any given moment of experience might be, and in fact it might be the first and thus far only real masterpiece of 21st century art.
ILLUMInations featured several hybrids of architecture and sculpture that were called "Para-Pavilions," imaginative structures inside of which one could find the work of other artists. At the entrance to the Arsenale, Song Dong created a replica of his parents' century-old home in China, containing a tiny figure by Ryan Gander. Monika Sosnowska fills a large room with a star shaped partition structure that contained several series of black-and-white prints by the South African photographer David Goldblatt, whose affecting chronicle of social and economic change in his home country was fully in keeping with the longstanding social landscape tradition in photography.
In addition to the many artists presenting in Curiger's two ILLUMInations venues, there were also 76 national pavilions exhibiting various deployments of contemporary art, although many of these were located away from the two main pavilion clusters in the Arsenale and the Giardini. One of these was the Haitian Pavilion, which consisted of a shipping container plopped down near to where a cluster of luxury yachts were moored, inside of which was a small collection of figurative sculptures by several artists that looked like decayed corpses set up for some kind of Voodoo ritual. Another was the stunning work by Michael Parekowhai in the New Zealand pavilion, consisting of three functional grand pianos that had been carefully carved to sport, in one case, traditional Maori decorative forms, and in two more, the addition of large wood bulls perched upon them. Some anonymous grafitti artist played the unauthorized role of gadfly amidst all of this official delivery of national aesthetic cuisines by deploying a stenciled clutch of words that read "Pavilion of Anonymous Stateless Persons" in several highly visible locations, reminding us that owning an official passport is a luxury that is not shared by everyone.
In keeping with the Swiss watch sub-theme of ILLUMInations was Christian Boltanaski's presentation in the French Pavilion, titled Chance, an elaborate contraption that ran along a strip of image fragments through a series of exchange mechanisms that allowed the viewer to compose them into the image of a face that was projected on the back wall. The inside of the space was a bit noisy, suggesting that the whole interior of the building could be taken as a giant film projector that allowed the viewer to play "director" in the game of forming a composite "character." This invocation of "the directorial mode" also infected other pavilions. For example, in the British Pavilion, there as an installation by Mike Nelson that came off as a kind of labyrinth of abandoned stage sets swathed in mood lighting, casting the artist as production designer in an imaginary movie where the viewer can fantasize him/herself as a protagonist. Imaginary production design also keynoted presentations by Sigalit Landau in the Israel pavilion and Adrian Villa Rojas in the Argentina pavilion. Similarly, the United States pavilion's exhibition of three works by the team of Jennifer Allora and Guillermo Calzadilla titled Gloria also took the viewer to the production design for a movie that should be subtitled "a long way to go for a gag." Outside of the pavilion, there was a piece by the duo titled Track and Field, featuring a late model British tank turned upside down, upon which was perched an off-brand treadmill on which a runner would periodically jog, thereby activating the clank-and-clatter of the tank's diesel engine. Inside, there was a functional cash machine that was built into a tall pipe organ that would serenade each user with a tune specially composed for the transaction.
The Swiss watch subtext of the ILLUMInations portion of the Biennial was energetically challenged by Thomas Hirschhorn's installation in the Swiss Pavilion, that being a sprawling miasma of mannequins wrapped in layers of consumer electronics affixed in cellophane tape, all set amidst stacks of sensationalist magazines. But as excessive and hard to take as Hirschhorn's installation was, it was dwarfed in terms of sheer bombast when compared to the controversial Italian pavilion, which was a project organized by Vittorio Sgarbi, a critic, curator and political figure well-known in Italy for his extreme anti-contemporary art positions. He has been called "the Glen Beck of the Italian art world," and he is very good at baiting his opponents, which is one reason why I am reluctant to take the bait represented by his exhibition. Others have done so, leading to fits of shrill hyperbole; for example, Jerry Saltz proclaimed it to be "the ugliest contemporary art show that I have ever seen," while New York Times art critic Roberta Smith called it "a national scandal." Smith should spend more time in Italy, which, in the age of Silvio Berlusconi's bunga-bungafication of that country's flagging economic fortunes, would vividly reveal to her what the term national scandal really means. After all, Sgardi's Italy pavilion is only "art" (so to speak), and although the viewing of it was a torturous and for the most part unredeeming experience, it did make a kind of disturbing point about the state of art in general: that art is no longer art any more, because something else is. As Peter Dobey eloquently put it, "I strongly believe the art world is no longer merely a body that defines art and where it 'lives'. It has eclipsed art entirely and now IS art."
I am not going to name any of the artists in the exhibition, because there were over 100 of them, and they functioned only as makers of components that were re-purposed into a gargantuan mega-assemblage put into motion by Sgarbi in a variety of sly ways. Squarbi organized the exhibition by inviting 150 non-art professionals to submit the names of their favorite artists. This resulted in a kaleidoscopic avalanche of third-rate realist paintings heaped upon a pile of fourth-rate figurative expressionism, all of which were carelessly stacked in a seemingly haphazard way. The effect was one of an 8.5 magnitude earthquake hitting a fourth-tier art fair, flavored with at least three garish knock-offs of Mantegna's Dead Christ. It is almost as if the exhibition was formulated as a giant conflation of the Italian words mostra (i.e. exhibition) and mostro (i.e. monster), which may in fact have been part of the project's guiding principle.
Hanging from the ceiling was a neon sign that spelled out the exhibition's title, Arte no is Cosa Nostra, which literally translates as "art is not our thing." Of course, Cosa Nostra is also the Italian name for the Sicilian mafia, so another pun comes into play, one that seems rather risky in the context of the current state of Berlusconi's Italy, which is celebrating the 150-year anniversary of Italian unification with government-enforced austerity programs following a sharp downgrade of its credit status. Indeed, in this context, we are not only left to wonder to what extent Sgarbi is referring to the mafia, but also who, in fact, is signified by the use of the term "our." A partial answer can be found in a dark wooden bridge that rises above part of the exhibition, where viewers are invited to enter an elevated passageway that exhibits a series of newspaper front pages, some of which date back to the turn of the 20th century. These all tell stories about mafia atrocities and failed efforts at prosecution, forming a sad and frightening chronicle that contradicts the misguided romanticism of the way that the Mafia is portrayed in the American mass media.
Large exhibitions like the Venice Biennial are rather like the proverbial elephant to which blindfolded critics are asked to append partial reports, and these pachyderms always come well equipped with hitching posts that can accommodate a wide array of diverse hobbyhorses. That is part of their newsworthiness, if not their "charm," but such shows are particularly useful for stepping back and seeing the trajectory of contemporary art in a larger context—if we can peek beyond our self-imposed blindfolds. You would be right in thinking that I was as unimpressed with Curiger's ILLUMInations almost as much as I was with Sgarbi pseudo-populist foray into the dark side of curatorial license. That said, I do think that the esthetic friction that emerged between these competing mega-exhibitions generated some noteworthy sparks. It is almost as if the viewer was being asked to choose between the celebration of "creativity" at the expense of art — or, the celebration of art conceived at the expense of creativity. This, of course, is a bad pair of options that no sane person would weigh. But sanity is not the issue at the Venice Biennial, or in contemporary life in general. Something else is afoot here, and I think it has to do with the changing dynamics of art patronage at a time when the presumed need for any form of "official culture" seems to be disappearing from the historical horizon. Now, in our new age of mega banks and hedge-fund economics, it's all about equity positions operating amid perpetually fluctuating value/worth scenarios, and this explains a lot about why contemporary art looks the way that it does: overblown, smug and all-too-willing to trivialize the human subject in the name of what could be called "importance effects" built on empty ideas that only mask real issues. On the losing end of this equation is the idea that "art, as a means of knowing the world and, in a certain sense, also a prefiguration of many different possible worlds," and here, I am quoting from Squarbi's catalog text, suggesting the possibility that he may be up to something subversive in relation to the art world's business-as-usual.
But this piece of critical boilerplate taken from Dave Hickey's mid-1990s playbook only scratches the surface of explaining the difficult situation that today's art finds itself in. Sure, art schools may be cynical engines of undeserved self-esteem, but they are only reflections of something much larger than themselves, something that is diffuse and omnipresent, but very real. Allow me to try to explain. After the collapse of the era of aristocratic art patronage, people began collecting art rather than commissioning it. These collectors started as accumulators, buying whatever suited the fancy of their fetishes, in the ostentatious manner made famous by William Randolph Hearst. But at some time near the turn of the 19th century, the accumulation of art started to give way to the more disciplined collecting of it, the difference being that the latter practice was based on some systematic knowledge of what was, art historically speaking, more or less important to a real or imagined consensus that was always in a state of revision and dispute.
As the disputes became more pronounced than the consensus during the 1970s, one would assume that collectors would have more, and by some light, too many options that would lead them back in the direction of accumulation. But something else came into play at that time, namely corporate art collecting, which not only enhanced the images of corporations, but also their long term balance sheets, because they could avoid taxes by donating the works held in their collections to museums at strategic junctures, creating a self-sustaining economy for art "as a hedge against taxation" as well as jobs for museum curators. I call this circumstance "hedge fund collecting," and I note that it is very different from other kinds of art patronage, because the system that authorizes its valuation of works of art has little to do with what was once thought to be historically or esthetically important. Now value is governed only by the fluctuating perceptions of a work of art's potential to be "museum quality" – something that is more and more defined by what art money wants it to be. Needless to say, there are more and more museums engaging in this brave new Ponzi dance, but it is worth noting that prominent individual collectors are playing this game as much as are their corporate equivalents.
All of this is an example of meta-capitalism in action, the definition of which is that it translates the economic activity away from the mere exchange of goods and services and toward abstract positions of "advantage" operating amid fluctuating equity streams. My Marxist friends see this phenomenon as an example of the withering away of the state, but what it is withering into bears no resemblance to any social utopia, only a banking system that seeks to make individuals, governments and everything else a "slave to debt." Thus, when we look at ILLUMinations or Sgarbi's Italian pavilion, we see, on one hand, the initial public offering of a new model portfolio set up as a likely candidate for the status of future museum bullion, or on the other, a shrill and gratuitous theatrical reaction to the wicked tilt of today's new art game.
Oh and one other thing: The major corporate sponsor for the 54th Venice Biennial is Swatch. I think that's pretty funny.
Venice Biennial through November 27, 2011.
Bloody brilliant breakdown, as usual, sir Mark. Your jab at Smith made me laugh out loud.
So true. Well done Mark.
It is so cool that you're the chair of painting at SFAI now!
art is making me tired. enjoyed the review and was happy that i did not have to go. art makes me tired, except every so often it makes me so excited. guess i can't just give it up.


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Q: Loop test results in null, crashes program I've been sifting through my code for a project and can't get this method to work as it's designed. What should be happening is that the system searches an array passed as a parameter for a user-inputted value. The following is the entire method as is written (there is some random text I've thrown in for debugging):
    public static void updatePC(int ARRAY_SIZE, int count, String[] customerName, String[] customerID, String[] os, String[] typeOfProblem, int[] turnAroundTime) {
    Scanner keyboard = new Scanner(System.in);
    String toUpdate;
    String[] customerIDClone = new String[count];
    int intToUpdate = -1, loop = count, n;
    char correct = 'n';

    customerIDClone = Arrays.copyOf(customerID, count);
    while (correct == 'n') {
        System.out.println("Please enter the customer ID of the work order you wish to modify");
        toUpdate = keyboard.nextLine();
        if (Arrays.asList(customerIDClone).contains(toUpdate) == true) {
            intToUpdate = Integer.parseInt(toUpdate);
        }
        while (Arrays.asList(customerIDClone).contains(toUpdate) == false) {
            System.out.println("The customer ID you entered was not found. Please try again.");
            toUpdate = keyboard.nextLine();
            intToUpdate = Integer.parseInt(toUpdate);
        }
        System.out.println("Beginning search loop. The value to find is " + toUpdate);
        for (n = 0; n < loop; n++);
        {
            System.out.println("Loop loop looooooooop");
            System.out.println(customerID[n]);
            System.out.println(customerID[0]);
            if (customerID[count].equals(toUpdate)) {
                System.out.println("Found it!");
                count = n;
            }
        }

        System.out.println("Testing run 1.");
    }
    System.out.println("");
    System.out.println("--");
    System.out.println("                    Name:  " + customerName[count]);
    System.out.println("             Customer ID:  " + customerID[count]);
    System.out.println("                      OS:  " + os[count]);
    System.out.println("         Type of Problem:  " + typeOfProblem[count]);
    System.out.println("Expected Turnaround Time:  " + turnAroundTime[count]);
    System.out.println("--");
    System.out.println("Is this new record correct? Please enter y or n.  ");
    correct = keyboard.next().charAt(0);
    keyboard.nextLine();
}

I've been sorting through other questions here on the site and elsewhere, but I can't figure out the issue. The output of the method is
Please enter the customer ID of the work order you wish to modify
3
Beginning search loop. The value to find is 3
Loop loop looooooooop
null
1
Exception in thread "main" java.lang.NullPointerException
    at mckelvey_project3.McKelvey_Project3.updatePC(McKelvey_Project3.java:183)
    at mckelvey_project3.McKelvey_Project3.main(McKelvey_Project3.java:45)
Java Result: 1
BUILD SUCCESSFUL (total time: 7 seconds)

I wrote the line
System.out.println(customerID[0]);

into my code just to demonstrate and make sure that the array is defined and initialized. Additionally,
System.out.println(customerID[1]);

is also defined. It seems the problem exists within my loop test; running
System.out.println(loop + count + n)

reveals that they are all equal to 3. Where is n getting set to 3 at?
EDIT
Added the following code suggested by @hfontanez
        customerIDClone = Arrays.copyOf(customerID, count);
    for (int i = 0; i < count; i++) {
        if (customerIDClone[i] == null) {
            System.out.println("Element " + i + " is null. Creating new String.");
            customerIDClone[i] = new String();
        }

and the output is as follows:
Please enter the customer ID of the work order you wish to modify
3
Beginning search loop. The value to find is 3
Loop loop looooooooop
null
2
Exception in thread "main" java.lang.NullPointerException
    at mckelvey_project3.McKelvey_Project3.updatePC(McKelvey_Project3.java:190)
    at mckelvey_project3.McKelvey_Project3.main(McKelvey_Project3.java:45)
Java Result: 1
BUILD SUCCESSFUL (total time: 14 seconds)

EDIT 2
I found the problem... I had a stray ; here:
for (n = 0; n < count; n++);

This issue is now solved.

A: An array in Java is an object.  When you create an array of objects, for instance an array of Strings, you must initialize the array AND each element.  The line:
String[] customerIDClone = new String[count];

Initializes an array of 'COUNT' number of String objects, but each element is still null.  That is why you are getting a null pointer exception.
Before you invoke customerID[count].equals(toUpdate),  the (String) element at customerID[count] must be properly instantiated.
The problem in this case is that the new array is not an exact copy of the original.  This line:
customerIDClone = Arrays.copyOf(customerID, count);

Creates a new array of 'COUNT' length.  If 'COUNT' is more than the length of the original, all newly created elements are padded with NULL.  This explains why customerID[0] works, but not customerID[n].  To fix this, you can iterate through the new array and add a new String() to each NULL element.
UPDATE:
Try this:
customerIDClone = Arrays.copyOf(customerID, count);
for (int i = 0; i < count; i++)
{
    if(customerIDClone[i] == null)
    {
        System.out.println("Element " + i + " is null. Creating new String.");
        customerIDClone[i] = new String();
    }
}

redpajama_set_name: RedPajamaStackExchange


text:
Q: I cannot insert many id into the db because it only permits last INSERT $AddRecord6 = mysqli_query($con,"INSERT INTO tbl_t_records(PerformanceID,QuizID,ProjectID,ExamID,AttendanceID,fuck)
        VALUES(LAST_INSERT_ID(),LAST_INSERT_ID(),LAST_INSERT_ID(),LAST_INSERT_ID(),LAST_INSERT_ID(),'1')")or die(mysqli_error($con));

I cannot Use Multiple LAST_INSERT_ID() it only permits the first LAST_INSERT_ID() and I cannot use the MAX(id) because it is not good

A: Get the last insert ID in PHP first!
$lastId = mysqli_insert_id($conn);


text:
Next Article in SMB
STARTUP TO WATCH
DrumChannel: Finding the Rhythm of a Community
By Jon Provisor
ECT News Network
August 21, 2008 4:00 AM PT
There's something both primal and communal about the beat of a drum, whether it's just one or 2,008 of them — as the world experienced at Beijing's Opening Ceremony to kick off the Olympics (which might be called the ultimate global social networking event).
A drum's beat seems to capture people from the inside out, turning something as individual and personal as a heartbeat into a collective experience. And it strikes me as very similar to what many Web sites want to do — take something as individual as an online browsing and shopping experience and make it communal, make it social.
Perhaps this sounds grandiose, but the questions I hear from online retailers of all sizes are the same: They want to know how to build a Web site that will keep their customers coming back, that will foster enthusiasm for the brand and for the products, and that will ultimately increase revenue. What they want is to find the beat that will resonate with their customers and draw them in.
Listen to a podcast of an interview between Guidance CTO Jon Provisor and DrumChannel CEO Don Lombardi. (16:30 minutes).
To answer those questions I'll examine a new online community — so new it hasn't even launched yet — that offers some lessons that can be applied across the board to all online retailers. The site, appropriately enough, is DrumChannel.com. The business venture's CEO, Don Lombardi, also is the founder of Drum Workshop, and is known within the drumming community as a teacher and manufacturer of some of the highest-quality drum kits and other related equipment around.
What makes the Drum Channel story an instructive case study for online retailers — even at this pre-launch stage — is that it helps answer some of the questions about how to combine social networking and commerce in a way that's natural and truly serves the needs of the community. It demonstrates that the combo of social and commerce can go far beyond advertising.
Finding the Heart of Your Audience
Lombardi was in an enviable position from the start, with several key assets already in place. He had a rich library of content that he wanted to share with the world. He's got a studio, and strong relationships with many legendary drummers. He often invites them over to chat and to drum, in front of a camera — giving Lombardi a lot of exclusive content that his audience would love to have access to.
Drummers are an enthusiastic group. They love to share their music with each other, learn from each other and just get to know each other. Lombardi wanted to give them a place online where they could do all of that. So he made the new site social, allowing members to create profiles, invite friends, upload photos and videos and create blogs.
Even though commerce wasn't Lombardi's main goal, as we were developing the site together we realized there were plenty of opportunities for e-commerce elements that were a natural fit for the drumming community.
Drum Channel will offer merchandise, like CDs, t-shirts, audio and video — anything a drummer would have in his or her closet. Lombardi also has plans for pay-per-view live events. The company will charge a subscription fee for the community, and will offer eLearning classes for a fee. Drum Channel incorporates elements that encourage people to upgrade when the time is right, to gain access to more classes or to advanced site features as they progress in their drumming skills.
Blending Social and Commerce: Lessons for Every Online Retailer
Every company's got a different starting point and different goals. But there are three things we learned from this experience that apply to any business wanting to blend social and commerce within their online retail site.
There is always a core audience of people who love your products or the types of products or services you offer. You might be thinking, "Sure, if only I had a built-in, enthusiastic audience like drummers." But the truth is, you probably do. Find the passion in your audience — it could be about your brand, or about your types of products in general, or it could center around the core reason they buy your products in the first place.
This goes back to a key tenet of marketing: know your customers. What do they care about? Why do they buy your products? Do they buy your line of clothing to look good or to feel comfortable? Do they buy your cleaning products because they're the best or because they're eco-friendly?
For example, if you cater to mothers or women, there are plenty of topics that your audience will get passionate about. Create valuable material and forums for discussion around those topics: how to get your child to sleep, fun things to do with the family on a rainy day — the possibilities are endless.
People get excited about their gadgets, tech products of all kinds, flat-screen TVs, travel gear, books, music, jewelry, and just about anything. Identify that passion and who's got it, and use it to your advantage.
Build relationships with the respected people in your industry. One of Drum Channel's advantages was that Lombardi had so much content to begin with. He was able to gain all of that because he's built relationships over the years with the luminaries of drumming. Every company should look at their audience and industry and cultivate those key relationships.
But make sure it's sincere. Lombardi is a genuine fan of drummers, and is a drummer himself, so for him every contact or relationship is based on real admiration. People can sense that. This may seem obvious, but not everyone does it — be a true fan of your own products and audiences.
There are plenty of ways to monetize an online community or social network that don't involve advertising. This can apply to companies that are trying to figure out how to get inside the bigger social networks that already exist, or those that are considering how to gain revenue from social channels on their own sites. Look beyond advertising and get practical about what your audience wants and what they're willing to pay for.
But the goal should always be to meet the needs of the customers first. If you don't do that, they won't come back. Combining social and commerce is best when it's completely organic to the community.
Lombardi didn't have commerce on his mind when he set out to create an online community for drummers. What he found was that if you build a site that feeds the genuine interests of an enthusiastic group of people, there are opportunities for commerce that fit naturally and actually add value to the experience. Incidentally, those are the commerce aspects that are most likely to be successful. Which is why, even before launch, Drum Channel is on a roll.
Jon Provisor is co-owner and CTO of Guidance, which helps online retailers achieve market domination by creating captivating and engaging online shopping experiences. Reach him at[email protected].
More by Jon Provisor
The Legal Perils of Social Networking
Facebook Stands Atop Social Networking World
To Your Health: The Serious Side of Social Networking
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Jocelyne Saab: history's witness
For more than four decades, Jocelyne Saab documented conflict and deprivation – especially in her native Lebanon. Following the sad news that the journalist and filmmaker died on 7 January 2019, we are republishing this article on her work online.
30 April 1948–7 January 2019.
Nicole Brenez
from our April 2017 issue
Jocelyne Saab, 1948-2019
Reporter, photographer, scriptwriter, producer, director, artist and founder of the Cultural Resistance International Film Festival of Lebanon, Jocelyne Saab has placed her entire artistic career at the service of the deprived and disadvantaged – from displaced peoples to exiled fighters, cities at war and a Fourth World without a voice. Her work is grounded in historic violence, and in an awareness of the actions and images required to document, reflect on and counteract it.
Saab was born (in 1948) and raised in Beirut. In 1973, hired as a journalist by her friend, the writer and visual artist Etel Adnan, she became a war reporter. In this respect her work is in the literary tradition of Albert Londres and Ernest Hemingway. Rootedness in the here and now is key to Saab's practice: the requirements of fact, relevance, clarity and speed underpin her practical and stylistic decisions. Current events in her work are always combined with sharp political analysis, both up and downstream of the films themselves.
Saab always understands that images will be part of an emerging common history, evaluating their role and importance for the construction of memory, and shooting and editing them to meet the challenges of historical issues. At all these levels, her films ensure that cinema shoulders its responsibilities.
We can see this most fully in the fresco she has painted of her own country, Lebanon, through multiple documentaries, from Portrait of a Mercenary (Les nouveaux Croisés d'Orient, 1975) to last year's Un dollar par jour (A Dollar a Day, on Syrian refugees). Together with the fiction films A Suspended Life (Une vie suspendue, 1984, with Juliet Berto) and Once Upon a Time in Beirut (Il était une fois… Beyrouth. Histoire d'une star, 1994), these form a remarkable cycle, not just because of their portrayal of Lebanon but because of the relationship they reflect between artist and nation. Saab documents her battered country's terrible wounds, its divisions and blind alleys, and also its poetry and astounding, inexhaustible energy. This longterm undertaking, in which the most intimate feelings combine with the realities of current events, is comparable to Johan Van der Keuken's work on Amsterdam or Wang Bing's on China.
Beyrouth plus jamais (1976)
A notable part of this cinematic fresco is the 'Beirut Trilogy': Beyrouth jamais plus (Beirut, Never Again, 1976, with Etel Adnan), Lettre de Beyrouth (Letter from Beirut, 1978) and Beyrouth, ma ville (Beirut, My City, 1983). In these films, made in the heat of war, Saab creates a new relationship between political analysis, subjective positions and artistic work, documenting both the events of the fighting and collective reflections on the situation, and the ways that war affects the mind.
The relationship is encapsulated by the opening of Beirut, My City: standing holding a microphone in the smoking ruins of her house, just bombed by the Israeli air force, Saab describes the situation, then explores the destroyed rooms, evoking the hundreds of years of family life that have just disappeared before her eyes. In long silent tracking shots, filmed at dawn when the cannons were silent, Beirut, Never Again documents the devastation suffered by her beloved city, then the residue of daily activities, suddenly surreal in this nightmarish landscape. Like the opening of Rossellini's Germany, Year Zero (1948) in the ruins of Berlin, the visual power here developed brings cinema back to its essence: its descriptive energy. Letter from Beirut, sent to friends abroad, also reports on the destruction of South Lebanon, refugee camps, armed forces of occupation. Her conclusion is clear: "Lebanon no longer exists."
Lettre de Beyrouth (1978)
So far history has proved her right: even next to the conflicts in Iraq and Syria, Beirut remains a paradigm of agonistic fury. Writing to me a couple of years ago, Etel Adnan summed up the relevance of the Beirut trilogy: "Through her political courage, moral integrity and profound intelligence Jocelyne has instinctively grasped the essence of this conflict. No documentation of this war has ever equalled the importance of the cinematographic work that Jocelyne presents in her three films on the Lebanon."
Saab also applied her incomparable visual political analysis to other territories, including Palestine (Palestinian Women, 1973; The Palestinians Keep Going, 1974), Iran (Iran, Utopia in Motion, 1980), Vietnam (The Lady of Saigon, 1997), Turkey (Imaginary Postcards, 2016), Iraqi Kurdistan, Syria and, crucially, Egypt, where she lived at various periods (Égypte, la cité des morts, 1977; Alexandrie, 1986; Les Almées, danseuses orientales, 1989). In 2005 the musical Dunia, filmed in and around Cairo and looking at pleasure in the context of Islam, earned her censure and death threats.
In all of these films, documentary or fiction, Saab casts an illuminating eye on all the social, political, cultural and emotional dimensions of a situation. Le Sahara n'est pas à vendre (The Sahara Is Not for Sale, 1977) offers a lesson in how to document a conflict for all students of film and journalism. Its methodical recording of the viewpoints of all parties, excluding no one, is enhanced by its visual depiction of the desert, a boundless motif shown in all its variety and specificities. But objective rationality does not prevent the adoption of ethical positions – the film starts with the fate of women and children, with which a less subtle essay might have ended.
Beyrouth, ma ville (1983)
In recent years, Saab has been making art. Her first installation, the 22-screen Strange Games and Bridges, using material from her work on war, was shown at the National Museum, Singapore, in 2007. The same year, she showed photographs at the Dubai Art Fair. She is now developing several films, an autobiographical book and a first book of her own photographs. Through her intrepid, crucial work and her unique combination of analysis and sensitivity, Saab documents 40 years of our shared history as seen from the Middle East, with an ironic view of political leaders and, for the victims of conflict, love.
An emblem of Saab's art could be found in her latest short One Dollar a Day, which advocates the raising of alms for Syrian refugees in Lebanon. In the Bekaa valley, thousands of families live under huge advertising tarps recycled as tents: a population in rags survives under monumental images of necklaces, perfumes and luxury brands, a grim collage of capitalist waste and the destitution of history's victims. Saab photographed and filmed the camps, making very large prints of refugee portraits and, using cranes, suspending them across Beirut. To shots of the city, she adds the burning question, "How can one live on one dollar a day?" Let the image become a visual shout in favour of the disinherited; let no one escape the consciousness of suffering and injustice; let humanity become a synonym for goodness and understanding: these are the tasks Saab sets for herself and for cinema.
Translated by Trista Selous
Sight & Sound: the April 2017 issue
Kristen Stewart, the star for our times, plus Paul Verhoeven and Elle, The Love Witch, Graduation, Jacques Becker and the range of Indian cinema.
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Celebrating Arab women filmmakers
Anna Coatman
Arab cinema after the Arab Spring
Yara first look: a celebration of innocence and young love
Capernaüm first look: a potent indictment of a 12-year-old's scraps of life
Caspar Salmon
My Favourite Fabric first look: unwrapping women's lives in the Arab Spring
Rebecca Harrison
Steady on the wing: how Ramia Suleiman completed Leonard Retel Helmrich's The Long Season
Sophie Brown
Mohamed Khan obituary: Egypt's most tenacious New Realist
Viola Shafik
Invisible lands: The Palestine Film Festival
Adania Shibli
Not forgotten: The Palestinian Film Archive
This is Afghanistan: Tim Hetherington on filming Restrepo
Thomas Dawson
Related to Jocelyne Saab: history's witness
Jocelyne Saab
Born: 30 April 1948
Highlighted films
Le LIBAN DANS LA TOURMENTE
IRAK La GUERRE AU KURDISTAN
Les FEMMES PALESTINIENNES
Les ENFANTS DE LA GUERRE
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UNESCO classified Sintra as Wold Heritage, under the category of "Cultural Landscape" in November the 6th, 1995.
Such international distinction was given because of the exceptional value of its vast area, that starts in the Historical Centre of "Vila de Sintra" and goes down to the "Vila de Colares".
Tourist region by excellence, Sintra is one of the most pleasant and privileged places that exists in Portugal. From the vast green and rocky hills, with admirable views, to its massive maritime beauty, Sintra is, by all means, "a garden of the terrestrial heaven".


Jeffrey Mongrain, Januarius and Dr. Hirsch, 2010. Plexiglas, hand-blown glass, metal, blood, and gold left. Courtesy of Loveed Fine Arts, New York City, and the Perimeter Gallery, Chicago. Image Courtesy of the artist. Photograph by Cathy Carver (work pictured in progress).
"Our Future is in the Air"


text:
Studio 1219 has hands-on art event
The Port Huron arts center is having a free Hands On Art event from noon to 4 p.m. May 27. The event will include art demonstrations and art projects, said Gina Panoff, education director of Studio 1219.
Studio 1219 has hands-on art event The Port Huron arts center is having a free Hands On Art event from noon to 4 p.m. May 27. The event will include art demonstrations and art projects, said Gina Panoff, education director of Studio 1219. Check out this story on thetimesherald.com: http://bwne.ws/2qWGBpB
Bob Gross, Times Herald Published 2:24 p.m. ET May 18, 2017 | Updated 2:29 p.m. ET May 18, 2017
Sydney Crull, of Marysville, paints glaze onto a piece during a "Mudslinging" class at Studio 1219. People can get hands-on with art during a free event May 27 at Studio 1219.(Photo: JEFFREY M. SMITH, TIMES HERALD)Buy Photo
Art isn't all "Look. but don't touch."
Studio 1219 is encouraging people to touch as much as they want. The Port Huron arts center is having a free Hands On Art event from noon to 4 p.m. May 27.
The event will include art demonstrations and art projects, said Gina Panoff, education director of Studio 1219.
"Studio 1219 does this so people who normally don't get a chance to try out art can come in and try it for free," she said.
People will be able to paint, work with clay and draw, she said. Artists also will be demonstrating stained glass, oil and acrylic painting, weaving and glass fusing.
"Everyone can try out all the art media we have here," Panoff said.
She said the event will include children's activities.
"We have smaller projects for young kids," she said. "They get to make their own suncatcher, things like that."
She said the event is designed to appeal to families as well as individuals.
"We want to try to get the whole family in to try something creative and new," she said.
Contact Bob Gross at (810) 989-6263 or rgross@gannett.com. Follow him on Twitter @RobertGross477.
A free hands-on art event will be noon to 4 p.m. May 27 at Studio 1219, 1219 Military St., Port Huron.
The Studio 1219 website is at http://studio1219.com/. The art center also is on Facebook at https://www.facebook.com/Studio1219PortHuron.
Read or Share this story: http://bwne.ws/2qWGBpB
Charlie Buckley: I'm 9, but I'm 35 inside (at least my kidney is)
Birthdays: minnie witherspoon
Anniversaries: Joseph Kreusel & Patricia Kreusel
Birthdays: Doris (Pringle) Ravin
Anniversaries: Bing Bingham & Pat Bingham
Anniversaries: Woody Nelson & Ruth Nelson
Oct. 6, 2019, 12:04 a.m.


Carving prices are based on height, size, and the amount of detail. Most creations will range in price from one thousand to ten thousand plus. Pam welcomes your ideas for personalized commissions.
MASTER ORIGINAL woodcarving used by Bethany Lowe Designs 2013.
SOLD Height is "16" total.
MASTER ORIGINAL Father Christmas below is 15 1/2" tall and base is 7" diameter.
Traditional Santa Carving pictured above.
Master Carving pictured above 2500.
Mr. Claus is smoking his pipe carrying his lantern in one hand and walking with his staff in the other. On his back he is carrying a pack, and coat is embellished with snowflake pattern. This charming carving is dusted with snow and has pine cone pieces added around the base of the Santa.
"Father Christmas Feeding the Birds" original Wood Master Carving..used by Bethany Lowe Designs for reproduction for 2013...was donated to Silver Bell Ball for the" TREES OF HOPE" from Pamela Schifferl. This organization benifits the childrens programs at Star of Hope. On any given day eleven hundred homeless men, women and children are helped at Star of Hope Centers in Houston, Texas.
*Shipping and Insurance will be additional to the cost of the carvings.
ALONG WITH HEALTH AND HAPPINESS!


A suitably atmospheric showcase of Raf Simons SS17 collection. Including cursor reactive images, zoom and slide transitions and background drone.
A bold initial slideshow coupled with some equally impactful rollover states makes for a memorable tour of this New York-based studio's work.


The platform "Google Books" has all of our books! With one simple search in the most recent book catalogue from all around the world, you will also find between a million other books, the books of Saita Publications.
It instantly appears from Google, but the Creative Commons License which refers to the ID on every publication of ours (page 4 on every eBook), is valid.
As we outline on our site, all our publications are exclusively in digital form. You will not find any printed copies. With the Creative Commons License and permission from the author, you may print them yourselves from your printer at home, or a printer nearest to you. In any case, you select the printing fee without the interference from anyone else.


Titled "Enjoy your music more!
"I think that there are many reasons for reading Emotion in Life and Music. The one that I think is very important is also very personal. Music is very personal. It means a lot to me and to many other people. So why, and does why matter? Is it just meaningless and subjective? (Which most people don't actually believe or they wouldn't get so excited about it.) What does it mean to feel so good or bad from hearing a piece of music. Should I care?
"Mr. Johnson does a great job in addressing these questions. He doesn't give you the superficial, feel good answers that you hear so often. He talks about the real connection you have with your favorite and least favorite. That does mean that you might not be happy with everything he has to say, but those points will deserve your attention and consideration. Damn, that's right, there may be some thinking involved. It is the good kind. The kind that leads to better understanding and more enjoyment of the that good stuff: music!"


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text:
Italdesign Nissan GT-R50 will be available from 2020
The novelty will be the first model from the Italian tuning company Italdesign for customers.
The car will debut in March 2020 in Geneva. At the end of next year, deliveries of vehicles from a limited series for customers will start. The prototype auto-cars will be unveiled at Japanese specialized auto shows, for example, at the NISMO 2019 Festival two days later and next month in Tokyo.
The production version of the Nissan GT-R50 is trendy: customers made a lot of requests for it, choosing a lot of personal specifications for the car. The company believes that such a moment will make the limited edition model (about 50 vehicles) more attractive to collectors.
Italdesign's GT-R50 will receive a 3.8-liter gasoline V6 with two 720-horsepower turbochargers. The engine was assembled manually, supplemented by adjustments from NISMO.
Nissan pictures 5169
Kia Sonet


text:
Lola-Aston Martin T70 Mark III
Home > Post-War Racing > Lola-Aston Martin T70 Mark III
That Aston Martin was, in the mid 60's, developing a new V8 engine, was a poorly kept secret. And the best way to test any new development is on the race track. The new 5.0 litre V8 was fitted into the Eric Broadley designed, Lola T70 Mark III chassis and unveiled in January 1967 at the Racing Car Show. Results on the track during 1967 were poor; the first car retired during the 7th lap of the Nurburgring 1000km, then only two and a half hours at Le Mans. The second car, with a longer tail lasted only 3 laps of Le Mans before retiring - the first car of the race to do so.
Despite this inauspicious start, lessons were indeed learned and the breed was consistently improved. Indeed the Aston Martin V8 engine made plenty more visits to the La Sathe circuit powering RHAM/1, Nimrod, EMKA and finally 22 years later, in AMR1. Production of the V8 engine finally ended in 2000 with a fraction over 5000 units built.
This car, chassis number SL73/101, was photographed at the 1996 Coys Festival, Silverstone and the Aston Martin Centenary Celebrations at Kensington Palace in July 2013.


Every business has dedicated employees that perform functions of the company. Everyone is working together towards a common goal and contributing to company revenue and growth in some way. However, most companies will find themselves at some point needing services that are not a part of their employee's job responsibilities.
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The other option if you choose not to outsource your IT support is to insource. Most organizations choose to hire one expert, a dedicated professional who will serve as the primary person responsible for all IT functions.
Possible Cost-Savings. Depending on how experienced the person is who you decide to hire, it may be slightly less expensive than outsourcing to a third-party.
Monitor Workers. Insourcing means you can directly monitor whoever is working for you and manage them based on what you have found effective over time.
Communication. Communication amongst your IT department and other departments within the organization may be more streamlined if the person is in-house.
Hiring Process. Even though hiring in-house may be slightly less costly, the recruiting and hiring process takes a lot of time. This is time that could be spent on business functions and growing your company.
Lack of Top Talent. If you are a small to medium-sized business, you may not have the capability to attract top talent for your organization. A professional IT company can provide that support if you outsource.
Retention. Insourcing may cause stress because you never know when an employee is going to leave. With a dedicated MSP, you never have to worry about your IT support team going anywhere.
When it comes to outsourcing vs. insourcing your IT support, each option has its pros and cons. It comes down to your preference and what will work best for your company. Whether you are a big or small business, every company can benefit from technical support services. If you choose to outsource your IT, the staff at Stability Networks is comprised of high-quality IT experts who demonstrate incredible customer care. For excellent outsourced IT services, contact Stability Networks.


text:
Q: Google Contact Api PHP - Server Account (server to server): Empty contacts array When I use "this solution" I get a blank contacts array.
I'm using "google-api-php-client-0.6.7" with a serviceAccount.php into the examples/contacts folder, and a Google_ContactsService into src/contrib folder.
I have configured the Google Apis Access, with OAUTH 2 as Server Account. I have the p12 file, a client id and a cliend mail address. The project name is "Google Contacts Sample".
serviceAccount.php:
<?php
require_once '../../src/Google_Client.php';
require_once '../../src/contrib/Google_ContactsService.php';

const CLIENT_ID = 'xxxxxxxxxxxxx.apps.googleusercontent.com';
const SERVICE_ACCOUNT_NAME = 'xxxxxxxxxxxxx@developer.gserviceaccount.com';
const KEY_FILE = '/absolute_path/aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa-privatekey.p12';

$client = new Google_Client();
$client->setApplicationName("Google Contacts Sample");

session_start();
if (isset($_SESSION['token'])) {
 $client->setAccessToken($_SESSION['token']);
}

$key = file_get_contents(KEY_FILE);
$client->setAssertionCredentials(new Google_AssertionCredentials(SERVICE_ACCOUNT_NAME, array('https://www.googleapis.com/auth/contacts'), $key));
$client->setClientId(CLIENT_ID);

if ($client->getAuth()->isAccessTokenExpired()) {
  $client->getAuth()->refreshTokenWithAssertion();
}
$token = $client->getAccessToken();

$service = new Google_ContactsService($client);
$result = $service->all();
print '
Contacts Result:

' . print_r($result, true) . '
';

Google_ContactsService.php:
<?php
class Google_ContactsService
{

    const SCOPE = "https://www.google.com/m8/feeds";

    /**
     * @var Google_Client
     */
    private $client;

    public function __construct($pClient)
    {
        $this->client = $pClient;
        $this->client->setScopes(self::SCOPE);
    }

    public function all()
    {
        $result = $this->execute('default/full?max-results=999');
        $contacts = array();

        foreach($result["feed"]["entry"] as $entry)
        {
            if(!isset($entry['gd$email']))
                $entry['gd$email'] = array();
            if(!isset($entry['gd$phoneNumber'])||empty($entry['gd$phoneNumber']))
                continue;

            $phones = array();
            $emails = array();

            foreach($entry['gd$phoneNumber'] as $phone)
            {
                $phone['$t'] = preg_replace('/\+33/', "0", $phone['$t']);
                $phone['$t'] = preg_replace('/\-/', '', $phone['$t']);
                $phones[] = $phone['$t'];
            }

            foreach($entry['gd$email'] as $email)
            {
                $emails[] = $email['address'];
            }

            $contacts[] = array(
                "fullName"=>utf8_decode($entry['title']['$t']),
                "phones"=>$phones,
                "emails"=>$emails
            );
        }

        return $contacts;
    }

    private function execute($pUrl)
    {
        $oauth = Google_Client::$auth;
        $request = new Google_HttpRequest("https://www.google.com/m8/feeds/contacts/".$pUrl."&alt=json");
        $oauth->sign($request);
        $io = Google_Client::$io;

        $result_json = $io->makeRequest($request)->getResponseBody();
        $result = json_decode($result_json, true);
        return $result;
    }
}

When I go to "http://server.com/packs/googleapi/examples/contacts/serviceAccount.php" I don't see any contact.
The function Execute return empty.
What can I do?
Thanks.

A: I realize this is old so you have probably moved on but for other's finding this I believe the  reason you don't see any contacts is that you are not delegating to a specific user.  Not counting shared contacts on Google Apps Premier and Education Editions domains, contacts are private to that user.
I would change this line
$client->setAssertionCredentials(new Google_AssertionCredentials(SERVICE_ACCOUNT_NAME, array('https://www.googleapis.com/auth/contacts'), $key));

to be more like this
$auth = new Google_AssertionCredentials(SERVICE_ACCOUNT_NAME, array('https://www.google.com/m8/feeds'), $key);
$auth->sub = 'user@domain.com'; //whoever's contacts you want to see
$client->setAssertionCredentials($auth);

You could keep the first two lines together if you look at Google_AssertionCredentials method signature, but I think this makes it more explicit.  Depending on what you are trying to achieve, user@domain.com will likely be a variable that is set from some kind of input, database, etc.