text:
The Tower of the Five Orders.
The Tower of the Five Orders, The Divinity School, Oxford, Great Britain
divinity school,
five orders,
divinity,
five,
great,
orders,
the,
17th,
behind,
bodleian,
century,
chapel,
© Estelelessar
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The Tower of the Five Orders, Bodleian Library Tower, Oxford University, Architecture of Oxford, England, United Kingdom Decoration detail of Tower at the Five Orders housing the Bodleian Library in Oxford Bodleian Library in Oxford Tower of the five Orders, Oxford Old Bodleian Library New Delhi, November 20, 2013. The Qutub Minar is a minaret a 73-metre tall tapering tower of five storeys Chinese ancient classics Beijing Tiananmen night scene Berlin, Germany, 13 June 2018. The television tower at Alexanderplatz with the backdrop of a blue sky
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The Tower of the Five OrdersThe Tower of the Five Orders


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text:
Image by: Liam Costley
Concert Review: Summer Thieves Bring a Taste of Supernatural to the Tuning Fork
Where: Tuning Fork
When: 01 Aug 2020
03 Aug 2020 Roger Bowie
It's an all ages gig at the Tuning Fork tonight. It's a different vibe. People running around, redoubling their efforts to have everything just so, it's not the sedate ambiance of an Americana gig, but the fervour of youth. Which means that some of these kids are young, very young. Which means no doubt that Steve (my mate) and I are here not just for my review, but to lift the average age towards 18 so more people can get a drink.
While it feels like a summery night, with all these young folk, spoiler alert, there are thieves out and about, so be careful.
L A Women
There's a steady stream of people still coming in when L A Women take the stage. Top marks for the band name, and subtle change to the plural to pay homage but not steal from the great Doors song from 1971. It's obvious that's what's at play here, because L A Women are men, and they hail from Masterton, just a little town south of Eketahuna, and a long way from Bakersfield.
The two cousins and their best mate have now relocated to Auckland, and are making their mark: Jake Schdroski, Zac Emerson and Jesse Brown are immediately Under Pressure but it's not the Bowie/Mercury pressure, it's their own song, and you immediately sense the legacy that Six 60 are imprinting in the minds and music of young kiwis today, funky indie pop with some reggae spice is the order of the day. These three guys have been at it for a number of years, since schooldays, and have developed into polished outfit, well known and appreciated by the audience.
LA Women
It's a pretty decent set and I don't think we get all the songs but the setlist includes most if not all the stuff from their 2018 ep, their biggest Spotify hit Hurricane Love and the more recent Novocaine.
The Fork is filling up and hey presto, there's a mosh pit.
L A Women Setlist
Don't Call Me Back
Hurricane Love
Thinking About You
Summer Thieves
Summer Thieves are a product of Dunedin Scarfiedom, just like their eminent peers, Six 60. They have been going for nearly 10 years, honing their sound, and releasing a full-length album in 2017, Warped (now playing loud in my living room). And a new EP just released, Bandaids & Lipstick.
Originally a four piece, now they are five. Jarni Blair is the newest recruit on lead guitar, joining the porkpie behatted Jake Barton (vocals and guitar), Johnny Ward on drums, Adam Spencer on bass, and another more recent addition, Izzy Bones on keys. The band strike up, or rather Jarni leads us gently through an ethereal introduction that could be a Carlos Santana warm up, and then the band are off into Green Queen.
The sound is full and rich, this is a Powerstation band, they are bigger than the Fork, or they should be. And as the songs roll out, they reveal themselves to be a fusion of Six 60, L.A.B, and let me say it again, Santana, but specifically the Santana of Supernatural, the album he made 20 years ago, bringing in diverse guests and creating another fusion of pop, rock, folk, hip hop and reggae.
And so it is, just as they reveal on Coast Roads, they like the reggae, they like the rock, the jazz, the drum 'n bass, the metal, the hip hop and the ska. And with all these diverse influences on show tonight, its clear the future of music in New Zealand is in good hands with bands like this.
Holly from the Label assured me that Summer Thieves are one of the best live acts around at the moment, which is a big claim, but these guys are sharp and tight and clever. Jake makes a great front man with his gnarly snarly Jamaican vocal style, but for me the standout is Jarni with his ethereal flights into sensational solo.
And in a fitting finale, they invite L A Women to join them in the encore, and the stage is indeed a crowded house.
The best gigs are often the ones where expectations are low or non-existent. Just curiosity. Well, curiosity has never killed this cat but has certainly uplifted and enriched.
Summer Thieves are not far short of sensational.
Summer Thieves Setlist
Green Queen
Coast Roads
Ocean Baby
What They Want
No Shadow
Love is Lost
Radio 13 thanks and credits Liam Costley for all the images in this review.
Written By: Roger Bowie Roger Bowie has been collecting music since 1964, starting with 45 rpm singles, and then building an LP and CD collection from 1970. 1.8 per week since then. Not a vast collection, but eclectic and occasionally obscure. Roger is a big Americana fan, and regularly attends AmericanaFest in Nashville, held every September. Also, he once played golf with Alice Cooper...

redpajama_set_name: RedPajamaCommonCrawl


text:
Award-winning film helps get Guatemalan girls to talk about sex
Ana Luisa González
It's not easy to get girls in Guatemala to talk about sex and reproductive rights. For many, sexual education is nonexistent — a taboo subject in a socially conservative country. Many churches forbid it, and society views the subject as promoting promiscuity among teenage girls.
But a new locally produced film is starting to challenge the silence on sex.
Ixcanul, a Guatemala-France co-production and first feature film by Guatemalan director Jayro Bustamante, is holding up a mirror to Guatemalan society and exposing the myriad problems related to immigration, sexuality, teenage pregnancy and teen marriage in indigenous communities.
Based on a real story, Ixcanul, which means volcano in the indigenous Kaqchikel language, tells the story of María (María Mercedes Coroy), a 17-year-old teenager who lives with her parents and is forced to marry an older man after losing her baby in an unwanted pregnancy by her friend, Pepe (Marvin Coroy), who emigrates to the United States.
The movie, which has already won several international awards, was beautifully shot along the smoke of indigenous ceremonies and the ashes of Pacaya Volcano. The story takes the viewer into the coffee-growing highlands of Guatemala where María, dressed in her colorful Maya traje, explores her sexuality with Pepe, then becomes the child bride of an older man, gets pregnant and loses her child.
Maria's character is inspired on the life of a young Kaqchikel woman, who 20 years was impregnated as a teenager and lost her baby to a human-trafficking network in the Guatemalan highlands. The woman told her story to Bustamante's mother, a medical worker who lived in the area at the time.
The director himself spent 14 years in the same region when he was young. He originally wrote the script in French, then translate it to Spanish and Kaqchikel.
Now the film, which is shot mostly in Kaqchikel, is being used as an educational tool to address issues of sexual reproductive rights among indigenous populations in a country where nearly a quarter of all children are born to teenage moms and child brides, and where only 5% of women consistently use birth control.
"With Ixcanul we are making a big effort to teach young kids, because there is a huge number of girls who are already mothers," Bustamante told Fusion.
Ixcanul's production company has partnered with The United Nation Population Fund in Guatemala to hold several screenings in universities, public schools and community centers in the capital and in rural outlying departments.
"The first time that we showed the movie in Guatemala was on the Volcano where we the film was shot, in part to acknowledge and thank the Kaqchikel indigenous community who helped us a lot," Bustamante said.
"We have been accompanying the film forums, chatting with the teenagers, and talking about key issues such as sexual rights, prevention, racism, discrimination and poverty," says Sabrina Morales, a communications official at the United Nations Population Fund in Guatemala. "Indigenous girls and teenagers in Guatemala are still vulnerable to different problems like early and forced marriage, but also there is no strategy for integral sexual education in schools."
Ending child marriage by 2030 is one of the Sustainable Development Goals recently adopted by member states of the United Nations, according to UNICEF. Guatemala has a long way to go.
The first step is just to get people talking. And Bustamante is happy that Ixcanul can play a role in that.
"Talking about sex is something that is not allowed," he said. "The Catholic Church's Opus Dei's organization is against talking about sexuality in schools and evangelical churches, which are 43% of the population, are against talking about sexuality in schools as well," Bustamante says.
Ixcanul, which is mostly shot in the Kaqchikel indigenous language, will premier in New York on August 26. It was a difficult film to make without much of history with cinematography, but it's an important way to show the world the strength and vulnerability of Guatemala's indigenous women, Bustamante says
"Maya women in Guatemala today are like that volcano that rumbles and resounds but hasn't yet erupted," he said. "Real change will happen when these women erupt and release what they have inside."
Ana Luisa González writes about Latino arts and culture and also makes documentaries.


text:
using System;
using System.Collections.Generic;
using Xunit.Extensions;

namespace AutoFixture.Xunit
{
    /// <summary>
    /// Provides a data source for a data theory, with the data coming from inline
    /// values combined with auto-generated data specimens generated by AutoFixture.
    /// </summary>
    [AttributeUsage(AttributeTargets.Method, AllowMultiple = true)]
    [CLSCompliant(false)]
    [System.Diagnostics.CodeAnalysis.SuppressMessage("Microsoft.Performance", "CA1813:AvoidUnsealedAttributes",
        Justification = "This attribute is the root of a potential attribute hierarchy.")]
    public class InlineAutoDataAttribute : CompositeDataAttribute
    {
        /// <summary>
        /// Gets the attribute used to automatically generate the remaining theory parameters, which are not fixed.
        /// </summary>
        public DataAttribute AutoDataAttribute { get; }

        /// <summary>
        /// Gets the data values to pass to the theory.
        /// </summary>
        public IEnumerable<object> Values { get; }

        /// <summary>
        /// Initializes a new instance of the <see cref="InlineAutoDataAttribute"/> class.
        /// </summary>
        /// <param name="values">The data values to pass to the theory.</param>
        public InlineAutoDataAttribute(params object[] values)
            : this(new AutoDataAttribute(), values)
        {
        }

        /// <summary>
        /// Initializes a new instance of the <see cref="InlineAutoDataAttribute"/> class.
        /// </summary>
        /// <param name="autoDataAttribute">An <see cref="DataAttribute"/>.</param>
        /// <param name="values">The data values to pass to the theory.</param>
        /// <remarks>
        /// <para>
        /// This constructor overload exists to enable a derived attribute to
        /// supply a custom <see cref="DataAttribute" /> that again may
        /// contain custom behavior.
        /// </para>
        /// </remarks>
        /// <example>
        /// In this example, TheAnswer is a Customization that changes all
        /// 32-bit integer values to 42. This behavior is encapsulated in
        /// MyCustomAutoDataAttribute, and transitively in
        /// MyCustomInlineAutoDataAttribute. A parameterized test demonstrates
        /// how it can be used.
        /// <code>
        /// [Theory]
        /// [MyCustomInlineAutoData(1337)]
        /// [MyCustomInlineAutoData(1337, 7)]
        /// [MyCustomInlineAutoData(1337, 7, 42)]
        /// public void CustomInlineDataSuppliesExtraValues(int x, int y, int z)
        /// {
        ///     Assert.Equal(1337, x);
        ///     // y can vary, so we can't express any meaningful assertion for it.
        ///     Assert.Equal(42, z);
        /// }
        ///
        /// private class MyCustomInlineAutoDataAttribute : InlineAutoDataAttribute
        /// {
        ///     public MyCustomInlineAutoDataAttribute(params object[] values) :
        ///         base(new MyCustomAutoDataAttribute(), values)
        ///     {
        ///     }
        /// }
        ///
        /// private class MyCustomAutoDataAttribute : AutoDataAttribute
        /// {
        ///     public MyCustomAutoDataAttribute() :
        ///         base(() => new Fixture().Customize(new TheAnswer()))
        ///     {
        ///     }
        ///
        ///     private class TheAnswer : ICustomization
        ///     {
        ///         public void Customize(IFixture fixture)
        ///         {
        ///             fixture.Inject(42);
        ///         }
        ///     }
        /// }
        /// </code>
        /// </example>
        protected InlineAutoDataAttribute(DataAttribute autoDataAttribute, params object[] values)
            : base(new InlineDataAttribute(values), autoDataAttribute)
        {
            this.AutoDataAttribute = autoDataAttribute;
            this.Values = values;
        }
    }
}

redpajama_set_name: RedPajamaGithub


Those Atlassian boys have done it again. First I became a fan of Jira, and now its looking good for Confluence too.
– search output, child page lists, etc.
… etc. They've even done their own implementation of Fit called FatCow which you can just use like any other Macro. You can write your own macros too, just to add insane power to the application.
– Usability is good, but it still takes a while to get going as a new user. Jira's got better on this front, so I expect later versions of Confluence will be easier for newbies too.
We're using it already for CruiseControl.NET – check out our space here.


There are 11 groups in the Maidenhead District serving both rural and town centre locations.
We encompass from Cookham in the North to Bray and Holyport in the South and go West to Littlewick Green.
Click on a pin to find out what time they meet.


text:
package org.apache.maven.plugin.war.stub;

import org.apache.maven.artifact.handler.ArtifactHandler;

import java.io.File;

/**
 * @author Stephane Nicoll
 */
public class MarArtifactStub
    extends AbstractArtifactStub
{
    protected String groupId;

    private ArtifactHandler artifactHandler;

    public MarArtifactStub( String basedir, ArtifactHandler artifactHandler )
    {
        super( basedir );
        this.artifactHandler = artifactHandler;
    }

    public void setGroupId( String id )
    {
        groupId = id;
    }

    public String getGroupId()
    {
        if ( groupId != null )
        {
            return groupId;
        }
        else
        {
            return "org.sample.mar";
        }
    }

    public String getType()
    {
        return "mar";
    }

    public String getArtifactId()
    {
        return "marartifact";
    }

    public File getFile()
    {
        return new File( basedir, "/target/test-classes/unit/sample_wars/simple.mar" );
    }

    public ArtifactHandler getArtifactHandler()
    {
        return artifactHandler;
    }
}


In this episode, I have a candid conversation with local folk musician Chaz Hearne.
In this episode, I preview the Lincoln Hills "Finger Lakin' Good" Fall Fest in Canandaiguai, NY.
In this unique edition, I have a conversation with local community activist, Amy Cavalier.
In this episode, I preview the Sterling Stage Last Daze Of Summer Festival.
In this episode, I have a candid conversation with founding member/snare drummer Lumar Leblanc of the world famous The Soul Rebels of New Orleans.
In this episode, I preview Nights Of Fire Music Festival:A Conscious Evolution.
In this episode, I have a candid conversation with singer and songwriter Dave Koegel of Syracuse NY's Barroom Philosophers.


text:
Critical Provisions
scraps of literary criticism–from the classroom, works in progress, private musings, public soliloquies, barroom disputations, and more.
20th and 21st Centuries
William Gaddis
W. Empson
289. (Robert Frost)
oboynton December 29, 2019 December 30, 2019 20th and 21st Centuries
How stupidly, carelessly I misread and misheard "Directive," failing first to read it for what it was saying, and second failing to read it for how it situates its voice to the reader, the interplay of pronouns chiefly being what I missed. I was so distracted by the second-person address of "weep for what little things could make them glad" that I didn't see what it was doing: it's a poem that narrates its own telling, that narrates the telling of any number of poems, the desire of a poet to bring a person to a place, to get them lost so that they might be found, to bring them back in time and place.
The word "lost" around which the poem turns needs to have three meanings: salvation, disorientation, and erosion/absence. The first "loss" ("time made simple by the loss") is the last of these (erosion); the second, "getting lost," is disorientation, and the third, "Both of them are lost" is the third. All three are present in the subsequent line, "if you're lost enough to find yourself." The first is present with the "Grail." But all three haunt the poem, what it is about; and it's against these, or through all three of these, that the poet-guide brings us.
Poet as Guide is nothing unusual. This gives us both poet as guide and poet as guided, though the reader is also guided along with the poet, as in Dante. And Dante is obviously a presence in the poem, in the sense of loss, of a fallen landscape, and in the obtrusive, harsh line "Weep for what little things could make them glad." It is very much the sort of thing Virgil would tell Dante to do, and that Dante, and we readers, would bristle against; it is pity, but pity as an obligation, something right but also something that must be done to continue on the way.
Frost writes then, to himself, as he remembers and goes on a journey into his own past, and memory which includes his past poems, with the landscape of "Directive" frequently presenting a deformed recollection or distortion of his earlier landscapes and works; it's a bit hellish, this quest into memory. He also writes to a reader, of course, and the poem is anchored to the "if": "if you'll let a guide direct you." The journey is, from that point, prospective: what will happen in reading the poem, rather than being the poem itself. But what difference is there? Or, from the perspective of reading the poem as Frost guiding himself, is there a difference between imagining what I will remember if I let myself remember and actually remembering it? That reads like a thought-experiment by Wittgenstein but it's to the point here, practically speaking. What's the difference between telling you where a poem will take you and actually writing a poem to take you there? And so, by the end of the poem, we are told, in the imperative present, to "Drink and be whole again beyond confusion." It's no longer prospective, since we are the end.
That line is itself of course baffling, since there is nothing to drink from except the poem's ending, which leaves us, if we are expecting to be made whole again, somewhat confused; but with the ending, a poem itself becomes whole, and the reader, who is somewhat lost to a poem, inhabiting as we do the voice and thought of the poet, is left to be himself or herself again, "whole again." "Beyond confusion," though, is not necessarily a place we have been before. If we are even there now: this last line might be conditional on the "if" we have let the guide direct us. And if we haven't, what then?
That joke makes the poem feel a bit like a game of the sort that we might find in the Alice books, and Lewis Carroll, along with Dante, along with Wordsworth's "Ruined Cottage" is alive in the poem (and maybe also, with the brook running from down the mountain where the ruins of the sheep-fold can be found, "Michael"). "If you're lost enough to find yourself" comes close to something Alice hears or is told; the final line too with its command to "Drink." The poem courts nonsense, or at least echoes it, which does not mean that it gives up on sense, but that it's awareness of sense situates it next to something alien.
The game of the poem, for the reader, for the poet, is a game of make-believe, a going-along with the conditional, a game for children, and a game of intimacy; it's no less serious for being that. It toys and plays with the reader but does not play with the reader as if the reader is a toy. That playing is no more fanciful than in the last lines where the first-person singular pronoun shows itself: "I have kept hidden in the instep arch / Of the old cedar at the waterside/ a broken goblet like the Grail/ Under a spell so the wrong ones can't find it." The lines can't be heard earnestly, but they can be heard seriously, serious in their desire to have you go along with the make-believe. But the language resists the portentous, not only in the parenthetical, "(I stole the goblet from the children's playhouse")—scurrilous, but also an extension of the children's games—but also in a double meaning: "watering places" is not just a place to drink water, but a bar. The guide maybe has taken us to get drunk, or at least in-spirited by liquors and spirits.
The poem does not undo its ambitions with the whiff of booze on the breath, any more than other Frost poems undo themselves with the rough, weathered cynicism of the country geyser; he suggests instead here that the poet is close kin to the barfly, for reasons that are easy to appreciate. The experiences that move someone to drink or that move someone to read or write a poem might not be that different; similarly, the arduous task of remembering might demand a bravery that some win by the bottle. The poem's dislocations of syntax and register do not ask us to choose whether to hear it as inspiration from above or inspiration from below; it can be both at once.
Previous 288. (Paul Tillich)
Next 290. (Edward Taylor)
Published by oboynton
View all posts by oboynton
Follow Critical Provisions on WordPress.com
325. (Yves Bonnefoy)
324. (William Gaddis)
321. (William Empson)


text:
COVID-19 vaccination and MS – everything you need to know
Never in our history has there ever been such a mass vaccination program as the COVID-19 vaccination program. There is a mountain of information about vaccines out there and it is often confusing and complicated. Here we try to break down some of the basics on the COVID-19 vaccination and how it will affect people with MS. This article is designed to complement our more clinical advice around COVID-19 vaccination for people with MS, which you can read here.
What is vaccination?
Vaccination is the safest way, and sometimes, as in the case of COVID-19, the only way to protect yourself against some specific infections. Vaccination aims to train your immune system against a virus or bacteria that otherwise would cause disease if you were to encounter it. In other words, vaccinations give you immunity to those bugs.
How does vaccination work?
There are many different types of vaccines, but generally, they use a harmless form of the virus, or part of the virus to train the immune system without making you sick. The immune system remembers this bug, so if a vaccinated person encounters the virus later, the immune system already knows how to mount a suitable response.
Should someone with MS have the COVID-19 vaccination?
It is currently recommended that everyone over the age of 16 years should be vaccinated against COVID-19. There is no specific data relating to the administration of any of the vaccines to a person with MS, but studies in the US, EU and Australia are currently being conducted. However, there is no theoretical reason why any of the presently available vaccines should pose any particular risk to a person with MS. The chances of developing COVID-19 are genuine, and the risks may be higher in a person with MS who also has some disability or other health conditions.
The risks in contracting the disease far outweigh any conceivable risks from the vaccines. The current advice is that people living with MS should be vaccinated unless advised not to do so by their treating neurologist.
What are the different COVID-19 vaccinations?
The Australian Government has invested more than $3 billion to secure three potential COVID-19 vaccines if they all prove to be safe and effective. The vaccines are:
10 million doses of the Pfizer/BioNTech vaccine
53.8 million doses of the University of Oxford/AstraZeneca vaccine
51 million doses of the Novavax vaccine
The three vaccines are all slightly different, in both composition and how they show part of the coronavirus to the immune system. The Pfizer vaccine is what is called an mRNA virus. mRNA is short-lived genetic material found in all living things, like DNA. In this vaccine, the mRNA contains the instructions to make a segment of the SARS-CoV-2 virus spike protein. Once injected, our body then uses the mRNA instructions to trigger a response.
The AstraZeneca/Oxford vaccine uses a different technique to introduce the virus into the body, called a viral vector. A viral vector is a modified virus unable to replicate in the body. In this case, it is an adenovirus (generally associated with a cold).
The Novavax vaccine is different again; this vaccine uses part of the virus protein together with an "adjuvant" a chemical that stimulates the body's immune system into action. For more detailed information about each of the different vaccines go to our website.
Where do people with MS fit into the vaccine rollout?
The Australian government has announced that vaccinations are planned to commence at the end of February 2021 and have created a rollout plan for the vaccine depending on the level of risk of contracting the disease.
The first group of people to be vaccinated consists of border and quarantine staff, frontline medical staff, and aged care workers and residents (approximately 678,000 people). The second group contains people with underlying medical conditions, which is made up of around 2 million people. It is likely that people with MS will fit in the second group for vaccinations.
Initially, the first rounds of vaccines will be made available in a small number of locations, gradually building to around 50 hospital hubs in urban and rural areas around Australia as experience is gained and logistics are organised. Therefore, it is likely that people with MS will need to go to one of these centres to be vaccinated. The location of these centres will be decided by state and territory governments. Later waves are likely to be carried at GPs and other local healthcare clinics and possibly community pharmacies.
What is Herd Immunity?
Herd immunity is the idea that if a large enough percentage of the population is vaccinated, it is difficult for the virus to find an unvaccinated person to infect and spread. Not only does this limit the spread of infection but it also limits the chance of the virus mutating or changing. Herd immunity is also essential in protecting people who can't be vaccinated themselves for various reasons, such as age or immunological diseases. It is currently unknown exactly what percentage of the population needs to be vaccinated to produce herd immunity, but experts believe it to be around 75%.
How effective are the different vaccines?
Like any medical intervention, no medicine is 100% effective, but vaccines are the most effective way of preventing COVID-19, especially severe COVID-19. There are variations in people's immune systems, there are variations in the virus caused by mutations, and there are variations in the vaccines themselves. Vaccine "efficacy" is indicated by the percentage reduction of disease in a vaccinated group of people compared to an unvaccinated group.
Among the COVID-19 vaccine candidates, there have been different efficacies reported. This is varied and depends on the vaccine, the study, and the population they are being used in. But generally, they are all considered to have a significant impact on the virus responsible for COVID-19.
Previously, diseases such as smallpox and polio have been eradicated from Australia by effective vaccination strategies, and without any other options COVID-19, vaccination is the only line of defence we have. Vaccination protects yourself and the community around you. If you have any concerns about vaccination, it is essential to talk to your healthcare team.
MS healthcare during the COVID-19 pandemic: the value of telehealth
New research from the Australian National University (ANU) explores the experiences of people with MS accessing healthcare during the COVID-19 pandemic.
A potential MS vaccine?
Recent scientific discoveries have been promoted as a potential vaccine for MS. We explore what this means and how it links to COVID-19.
What us to keep you in the loop? Subscribe today!
Fast-tracking therapies for progressive MSFeatured Homepage, MS Trials, News
Pearl has the power to help cure MS. You do too.Featured Homepage, News


If you are a person who owns your own home, you might feel that you have certainly accomplished something wonderful, something that you can be proud of as a very good achievement in your life. Loving your home the way that you do, then, you might want to do everything that you can to improve it, both in its aspects of beauty and comfort. It is wonderful to know that there are a lot of ways through which they can improve their homes, and one of these is through finding a good flooring company. Finding a good flooring company, then, is definitely something that you should do, as when you do so, you can be sure that the benefits you get to achieve will not only be numerous, but also wonderful and worthwhile.
Finding the best flooring company is definitely beneficial to you in a lot of ways, one of which is the fact that when you do so, yu can find the flooring that is sure to match your home. They can, for instance, pick hardwood flooring, which is classical and beautiful, or tile flooring, which is more functional and easy to care for. One who is able to find a company that offers flooring, then, can be sure that whatever he or she needs or wants will be available at this source.
Finding the best flooring company is also something that you should do because when you do so, you can be sure that the work of flooring which is done for you will be of the best quality, very beautiful and satisfying altogether. If you know something about installing flooring, you might know that it is a job that can be rather complex, which is why you do not want to hire just anyone to do the work on your home. It is pleasing to know that when one is able to find a good flooring company, he or she can be sure that professionals who work there will have the right techniques and skill to do the best job.
One who is able to find a good flooring company will also be glad to know that the materials sold there will only be materials of very good quality. You can be sure, then, that your flooring will be very durable and very long-lasting, and because of this, you will actually save a great deal of money, especially in the long run.


text:
/*
 * Licensed to the Apache Software Foundation (ASF) under one or more
 * contributor license agreements.  See the NOTICE file distributed with
 * this work for additional information regarding copyright ownership.
 * The ASF licenses this file to You under the Apache License, Version 2.0
 * (the "License"); you may not use this file except in compliance with
 * the License.  You may obtain a copy of the License at
 *
 * http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 */
package com.navercorp.nbasearc.confmaster.server.leaderelection;

import java.util.Comparator;

/**
 * A leader offer is a numeric id / path pair. The id is the sequential node id
 * assigned by ZooKeeper where as the path is the absolute path to the ZNode.
 */
public class LeaderOffer {

    private Integer id;
    private String nodePath;
    private String hostName;

    public LeaderOffer() {
        // Default constructor
    }

    public LeaderOffer(Integer id, String nodePath, String hostName) {
        this.id = id;
        this.nodePath = nodePath;
        this.hostName = hostName;
    }

    @Override
    public String toString() {
        return "{ id:" + id + " nodePath:" + nodePath + " hostName:" + hostName
                + " }";
    }

    public Integer getId() {
        return id;
    }

    public void setId(Integer id) {
        this.id = id;
    }

    public String getNodePath() {
        return nodePath;
    }

    public void setNodePath(String nodePath) {
        this.nodePath = nodePath;
    }

    public String getHostName() {
        return hostName;
    }

    public void setHostName(String hostName) {
        this.hostName = hostName;
    }

    /**
     * Compare two instances of {@link LeaderOffer} using only the
     * {code}id{code} member.
     */
    public static class IdComparator implements Comparator<LeaderOffer> {

        @Override
        public int compare(LeaderOffer o1, LeaderOffer o2) {
            return o1.getId().compareTo(o2.getId());
        }

    }

}


Learning about animals is great fun and this Mother and Baby Animal Pack are a great way to learn about different animals.
Cut out and laminate for durability.
Once laminated, cross out the word and ask the child to spell it.


Home / All BambooPlants.ca / Hibiscus syriacus 'Red Heart'.
Red Heart Rose of Sharon is grown for the long blooming period (June to October) of its very attractive white flowers with red centers. This deciduous shrub grows to 8 ft tall and 7 ft wide. Works well as a specimen or hedge. Native to China and India.


text:
var common = require('../common');
var net = require('net');
var assert = require('assert');

var cbcount = 0;
var N = 500000;

var server = net.Server(function(socket) {
  socket.on('data', function(d) {
    console.error('got %d bytes', d.length);
  });

  socket.on('end', function() {
    console.error('end');
    socket.destroy();
    server.close();
  });
});

server.listen(common.PORT, function() {
  var client = net.createConnection(common.PORT);

  client.on('connect', function() {
    for (var i = 0; i < N; i++) {
      client.write('hello world', function() {
        cbcount++;
      });
    }
    client.end();
  });
});

process.on('exit', function() {
  assert.equal(N, cbcount);
});


text:
/*
 * @name Wavemaker
 * @arialabel Water like waves of neon green lines moving in circular patterns. The user's mouse can change the direction of the current in the waves
 * @description This illustrates how waves (like water waves) emerge
 * from particles oscillating in place. Move your mouse to direct the wave.
 * Contributed by Aatish Bhatia, inspired by Orbiters by Dave Whyte.
 */

let t = 0; // time variable

function setup() {
  createCanvas(600, 600);
  noStroke();
  fill(40, 200, 40);
}

function draw() {
  background(10, 10); // translucent background (creates trails)

  // make a x and y grid of ellipses
  for (let x = 0; x <= width; x = x + 30) {
    for (let y = 0; y <= height; y = y + 30) {
      // starting point of each circle depends on mouse position
      const xAngle = map(mouseX, 0, width, -4 * PI, 4 * PI, true);
      const yAngle = map(mouseY, 0, height, -4 * PI, 4 * PI, true);
      // and also varies based on the particle's location
      const angle = xAngle * (x / width) + yAngle * (y / height);

      // each particle moves in a circle
      const myX = x + 20 * cos(2 * PI * t + angle);
      const myY = y + 20 * sin(2 * PI * t + angle);

      ellipse(myX, myY, 10); // draw particle
    }
  }

  t = t + 0.01; // update time
}


text:
in: Films, Films directed by Hayao Miyazaki, The Wind Rises
風立ちぬ
Kaze Tachinu
Toshio Suzuki
The Wind Has Risen by Tatsuo Hori
Hideaki Anno
Miori Takimoto
Hidetoshi Nishijima
Masahiko Nishimura
Steve Alpert
Morio Kazama
Keiko Takeshita
Mirai Shida
Jun Kunimura
Shinobu Otake
Nomura Mansai
Atsushi Okui
Editing by
Takeshi Seyama
Nippon Television Network
Hakuhodo DYMP
Walt Disney Japan
20 July 2013 (Japan)
126 minutes[1]
US$30 million[2]
US$136.5 million[3][4]
For the 1937 novel by Tatsuo Hori, see The Wind Has Risen.
The Wind Rises (風立ちぬ , Kaze Tachinu) is the 19th animated film written and directed by Hayao Miyazaki and produced by Studio Ghibli for the Nippon Television Network, Dentsu, Hakuhodo DY Media Partners, Walt Disney Japan, Mitsubishi, Toho and KDDI and distributed by Toho. It was released on July 20, 2013, in Japan and February 21, 2014, in America.
It is based on the serialized manga of the same name, written and illustrated by Miyazaki on Model Graphix magazine and Tatsuo Hori's acclaimed 1936-37 novel Kaze Tachinu (風立ちぬ – , The Wind Has Risen). It traces the life of Jirô Horikoshi, an aircraft engineer who invented the famous "Zero" fighter, which was used by the Japanese navy during World War II. The film and the manga also chronicles the life of Jiro's wife, Naoko, a fictional character from Hori's original novel. The story describes the tragic fate of the young couple in the maelstrom of prewar Japan, and depicts Taishô and Shôwa Japan from the economic hardships in the 1920s through the rise of militarism in the 1930s.[5]
The film's theatrical poster contains the dedication, "In honor of Jirô Horikoshi and Tatsuo Hori.".
Its production was chronicled in the 2013 documentary The Kingdom of Dreams and Madness, released by Toho and the NHK feature 1,000 Days Record / Declaration of Retirement[6]. It was Miyazaki's final film before his retirement in 2013. However, in 2017, Miyazaki announced he had come out of retirement to direct How Do You Live?, which is expected to be released in 2023.
According to Miyazaki, the "wind" in the title is not "something that blows refreshingly, but a terrifying wind that roars and shakes trees after the nuclear power plant exploded, so I later spoke about having to try to live..."
1.1 A Journey
1.2 A Heart Aflutter
1.3 The Falcon Project
1.4 A Parting
1.5 A Kingdom of Dreams
3 Source Material
3.1 Inspiration and Setting
3.2 Issues with Adaptation
3.3 Naoko's Disease
3.4 Analysis
4.2 Production
5 Dubbing
6.1 Home media
9 Voice Cast
9.1 Additional English Voices
11 Related Publications
"Mr. Caproni, may I ask you a question? I know I can't be a pilot because of my eyesight. If I'm not a pilot, can I still design airplanes?"
"Japanese boy, I've been around planes all my life. You know how many I've flown? None! Not any one! Many can fly a plane but I design them. I create airplanes and so can you. An aeronautical engineer!"
"But remember this, Japanese boy. Airplanes are not tools for war. They are not for making money. Airplanes are beautiful dreams. Engineers turn dreams into reality."
—Caproni speaking with Jirô
Caproni appearing to young Jirô Horikoshi in his dreams.
In the movie, Jirō starts out as a young boy living in a provincial town in Japan, who dreams of a day when he could design and possibly fly airplanes. However, much to his dismay, his eye-sight deteriorates rapidly, preventing Jirô from ever piloting an aircraft. His hopeless longing even leads to dreams where he would fall from an airplane he was piloting, as his eyes could not withstand the pressure of high altitudes. Desperate to find a way to overcome his weakness and follow his goal, he seeks help and guidance from Giovanni Caproni, a famous Italian aircraft designer who appears to Jirô in his dreams. Caproni encourages Jirô to become an aeronautical engineer, as he could then follow his desire to design airplanes without actually having to fly one.
A Heart Aflutter
"Nice catch."
"You speak French?"
"Le vent se lève. It's a French poem."
"Il faut tenter de vivre."
"The wind is rising. We must try to live."
—Jirô flirting with Naoko
Jirô carries Naoko's maid to safety during the Great Kantô Earthquake.
Determined to become an aeronautical engineer one day, Jirô studies the principles of aviation throughout his academic years, continuously seeking guidance and encouragement from Caproni along the way. By the time he is an adult, he is able to enter the University of Tokyo to study aeronautics. Boarding a train, he makes his way to the Kanto region of Japan. During the journey, he meets Naoko, a young girl traveling with her maid, for the first time. An unprecedented, deadly earthquake suddenly hits the Kanto region, leaving the city in devastation and fire. The passengers inside the train flee from the train, as the damaged boiler threatens to explode. As Jirô starts to leave, he notices that Naoko's maid had broken her leg during the commotion caused by the earthquake. Strapping his slide-ruler to the side of her leg, Jirô leads both Naoko and her maid to safety. Jiro's actions win affection and gratefulness from Naoko and her maid, but they can not express their thankfulness to him, as Jirô leaves without telling them who he is.
The Falcon Project
"Jiro, we cannot be stuck in the past forever. We're already 20 years behind!"
"It's as if we were a hare chasing a tortoise with a 20-year lead. But in our little story, the hare doesn't sleep."
—Honjō speaking with Jirô at Junker's hanger
Jirô supervising the early prototypes of the "Zero" fighter.
Years later, Jirô works as an aircraft manufacturer and designer for a company in Nagoya, Japan. His first assignment to build a fighter with a design team ends in failure, and the company is forced to give up its contract to a rival company. Redirecting its attention to the designing of a heavy bomber, the company sends Jirô to Germany to study the technical advances of the German Junker aircraft designs. Jirô, with difficulty, succeeds in procuring the necessary designs from the grudging Germans and returns to Japan. Some years later, Jirô is reassigned to a fighter project funded by the Imperial Japanese Navy as the design team's chief designer. This project also ends in failure, causing Jirô to fall into a state of severe disappointment. The company, anxious to have their chief designer back in form, sends Jirô away to a summer resort to recover. There, he meets Naoko once again, now grown into a beautiful young woman. The two soon fall in love, sharing a passionate romance. However, when Jirô proposes to Naoko, she refuses, saying that she was inflicted with tuberculosis. She earnestly entreats Jirô to wait for their marriage until she is cured, which Jirô gently accepts.
Jirô returns to the company after his vacation time expires. He is then assigned to another fighter project sponsored by the Navy as the chief aircraft designer. In order to avoid the attention of the Japanese secret police, the company sets Jiro's lodgings at one of his supervisor's residences. With the help of his design team, Jirô plans the construction of Japan's future naval fighter, regarding it as a revolutionary step in aeronautics.
A Parting
"Don't let go."
"No, I won't let go."
"I need a cigarette. Can I let go for a minute?
"No, smoke here."
"It's not good for you."
"I don't care."
—Naoko speaking Jirô while holding hands
Naoko and Jirô enjoying some time together.
Meanwhile, Naoko's health deteriorates rapidly, eventually causing her to have a lung hemorrhage, much to Jiro's dismay. To receive treatment, she journeys to a sanatorium in the mountains where she stays for a long period of time. However, Naoko can not bear to be apart from Jirô. Furthermore, she senses that her end is near. Thus, she journeys to Nagoya to see Jirô one last time. The couple requests a traditional marriage from Jiro's host, and they spend a brief, yet happy time together despite the dire warnings given by Jiro's sister about Naoko's possibly horrific impending death.
Jirô eventually completes his fighter design, building the Mitsubishi A5M. Before he leaves to spend the next few nights at the site of the test flight, he and Naoko share their last moment together. While he is at the site, Naoko leaves Nagoya, intending to go back to the sanatorium. She knows that she is going to die, and does not wish Jirô to witness the last terrible moments of her life as she succumbs to the disease.
A Kingdom of Dreams
"Someone is waiting for you."
"Naoko..."
"She's been waiting here for a long time."
"You must live, darling. You must live..."
"She was beautiful, like the wind."
"Thank you. Thank you."
"You must live."
—Caproni speaking with Jirô about Naoko's parting words
Jirô and Caproni meeting for the last time. He sees a vision of Naoko in the distance.
The test flight goes well. Jirô and his superiors watch as a naval pilot flies the new aircraft to astonishing speeds of 240 knots, a groundbreaking record in flight speeds during that time. As Jirô proudly watches his creation touch down onto the ground, he feels a strong gust of wind from the distant mountains. As he stands against the wind, he senses Naoko's death, leaving him in stunned, anxious silence.
After the end of the Second World War, Jirô revisits his dreams as he did several times in his life, to meet Caproni for, possibly, the last time. Jirô expresses his regret and sorrow of the destruction and devastation his "Zero" fighter had caused during the war. Caproni comforts him, saying that "his dream was nonetheless realized" and that airplanes "are beautiful, cursed dreams". Caproni then directs Jiro's attention beyond the grassy hill they were standing on. Jirô, stunned with joy, sees Naoko coming towards him, holding a parasol in her hand. Waving to Jirô, she calls to him, "you must live, darling...you must live!" Jirô, barely able to speak, nods his head. Her last message complete, she rises with the wind, vanishing from sight. Continuing his walk with Caproni, Jirô looks to the sky and the wind, taking his wife's words deeply to heart.
Jiro Horikoshi (堀越 二郎 , Horikoshi Jirō)
Hideaki Anno (Japanese), Joseph Gordon-Levitt (Disney)
The main protagonist of the film. Born to a wealthy family, he has an enigmatic personality and has a loose concept of being on time. Jiro is a dreamer, and his mind is constantly filled with airplanes and their designs. He has a serious demeanor, and can be sincere to a fault. He has unique sense of humor. His favorite food is mackerel, and his cigarette is "cherry-flavored".
He yearns to fly an airplane, but his myopia prevented him from pursuing his dream. In his dreams, he meets German engineer Caproni, whom he greatly respects, and aspires to become a aviation designer. He takes up aeronautical engineering at Tokyo Imperial University, and he has a fateful encounter with Naoko Satomi during the Great Kanto Earthquake. Following his graduation, he begins designing aircraft for Mitsubishi. A crucial test flight with the Mitsubishi 1MF10 ends in disaster due to a broken vertical stabilizer. He decides to take a break and reunites with Naoko, whose tuberculosis had taken a turn for the worse and had been seeking at a Sanatorium in Karuizawa, Kitasaku District, Nagano Prefecture. The two are wed shortly after, but their time together is brief. Soon after, Jiro returns and begins work on his ninth prototype one-seater fighter craft - the design that would eventually become the Zero fighter.
Naoko Satomi (里見 菜穂子 , Satomi Nahoko)
Miori Takimoto (Japanese), Emily Blunt (Disney)
The heroine. She's bright and has an innocent personality. On the other hand, she's brave despite her predicament. The daughter of a wealthy family living in Yoyogi-Uehara, Tokyo (before the Great Kanto Earthquake, it was known as Ueno-Hirokoji). She enjoys sketching and painting.
Jiro catches her hat during a train ride to Tokyo. She falls for Jiro, who helped her maid after she was injured during the Great Kanto Earthquake derailed their train. She sends him a slide ruler as a token of thanks after he uses his as a makeshift splint. However, due to circumstances beyond their control, the two would not meet for some time.
They have another chance encounter in Karuizawa, where Naoko was staying for treatment. Despite her worsening illness, he confessed his love for her and asked her father for her hand in marriage. The two would enjoy their wedding bliss until her illness worsened further and she was admitted to the Fujimi Kogen Sanatorium. She would put on a brave face whenever they would see each other, careful not to show symptoms of her illness. She supported Jiro as much as she could, until her complications worsened and she passed away.
Her character is based on Ayako Yano, wife of author Tatsuo Hori. Yano suffered from tuberculosis and died while seeking treatment at a Sanatorium. Hori would later write a novel in honor of her called "Naoko". Similar characters and situations can also be seen in Hori's novel "Beautiful Village".
Kiro Honjo (本庄 , Honjō)
Hidetoshi Nishijima (Japanese), John Krasinski (Disney)
Jiro's best friend since he was at Tokyo Imperial University. He later becomes his colleague and rival aviation engineer. He's a nihilist and is disgusted by Japan's primitive technological state. He's a heavy smoker.
He joins Jiro to study abroad in Germany. Unlike Jiro who was ordered to return to Tokyo, he remained in Germany and received aid from Junkers. Partly due to that, he becomes involved in the production of bombers. He was in charge of designing the eighth prototype, a special reconnaissance aircraft and the ninth protoype land attack aircraft (later the Mitsubishi G3M / 96-type land-based attack bomber aircraft).
Kurokawa (黒川, Kurokawa)
Masahiko Nishimura (Japanese), Martin Short (Disney)
Jiro and Honjo's boss. He's impatient and difficult to work with. He gave the recommendation for Jiro to study abroad after evaluating his skills. In order to save Jiro from being incarcerated by the Special Higher Police (a special taskforce meant to arrest anarchists, communists and socialists), he hid him while on a business trip. He acted as matchmaker between Jiro and Naoko.
Castorp (カストルプ , Kasutorupu)
Steve Alpert (Japanese), Werner Herzog (Disney)
A German staying in Karuizawa. He became witness to Jiro and Naoko as they began courting each other. He is not happy with the rise of Nazi Germany and has a pessimistic outlook on the future of Japan as it seeks isolationism. He enjoys Franz Schubert's music.
Kayo Horikoshi (堀越 加代 , Horikoshi Kayo)
Mirai Shida (Japanese), Mae Whitman (Disney)
Jiro's younger sister. She's always admired her older brother. She wishes to move to Tokyo to study medicine, but her father refused. She soon became friends with Naoko and showed compassion towards her, blaming Jiro for her medical condition her lonely life. When she visited the Sanatorium as a nurse, she witnessed Naoko in an accident. When she finds the letter meant for Jiro from Naoko, she realized its true intentions and bent down weeping.
Caproni (カプローニ , Kapurōni)
Nomura Mansai (Japanese), Stanley Tucci (Disney)
Modeled after Gianni Caproni, the founder of Caproni. A real-life figure who meets up with Jiro in his dreams, encouraging him on his dream but warning of its many unintended consequences.
Junkers (ユンカース , Yunkāsu)
A world-renowned airplane producer. When Jiro and Honjō visited Germany, they met in the hangar of Junkers Aircraft Manufacturing. Later, he was ousted from the company after criticizing the Nazi Party and Adolf Hitler.
Source Material
Inspiration and Setting
"Le vent se lève!... Il faut tenter de vivre!" ("The wind is rising!... We must try to live!")" — Paul Valéry, "Le Cimetière Marin" (The Graveyard By The Sea).[7][8]
Paul Valéry's 1922 poem Le Cimetière Marin or The Graveyard by the Sea.
The film is set in Tokyo before and after the Great Kantō Earthquake in 1923, and several locations in Nagano Prefecture, namely in Karuizawa and the Fujimi Kogen Sanatorium.[9] Unlike previous Ghibli works, The Wind Rises is based on the real-life experiences of author Tatsuo Hori and aviation engineer Jirô Horikoshi. Regaring Hori's work and its impact:
There are many works from local artists which reflect melancholy and sadness. However, the works of Tatsuo Hori are among the very few which were created during the Showa period (the early 1930s). Reminiscent of his work is the modern writings of Haruki Murakami and Kawabata Yasunari. The only difference is that most of Murakami's work is translated to more than 50 languages, including English, Chinese, and more. Interestingly (and coincidentally), the main character from Murakami's most popular work (Norwegian Wood) is also named Naoko who also goes to a secluded sanatorium in the mountains, just like the main character from The Wind has Risen. Both works explore pain, nostalgia, longing, and sadness caused by an unbearable, unpredictable, and irreversible loss. Both novels have melancholic and nostalgic vibes.[10]
Tatsuo Hori's novel Kaze Tachinu (1936-37).
Additionally in the film, Jirô speaks with Giovanni Gianni Caproni in his dreams. Caproni founded an aircraft manufacturing company called "Caproni" in Italy in 1908. Much of the film's setting was notably developed by Miyazaki while he was listening to the theme song Hikōki-gumo (Contrail), a 1973 single sung by Yumi Matsutoya.
The film's opening is set in the backyard of the birthplace of Jirô Horikoshi while the film's final scene is set in the forest of Karuizawa, where Tatsuo Hori died (Hori himself succumbed to tuberculosis in 1953). The film ends with words "End", set against the background of the cloudy sky, and pays homage to both of them.
Hori's memorial at Karuizawa, Nagano Prefecture.
When speaking about Tatsuo Hori, Miyazaki recalls, "I read (his novels) when I was young, but it didn't really come to my mind. I found it at an antiquarian bookstore and happened to read it again. After reading it repeatedly, I realized that Utsukushii Mura (Beautiful Village , (美しい村), 1933) and Kaze Tachinu (The Wind Has Risen , (風立ちぬ), 1936–37) were wonderful. I was spending time in Oiwake (Karuizawa, Nagano Prefecture). I think spending that cold winter in Oiwake was more than just for the body (of those who got sick)."
Issues with Adaptation
"Why am I making a film about the inventor of the Zero fighter plane? That's the answer I need to find... One thing is for sure, I don't want to do the same as before. At my age, this is the moment when I want to do something more technically difficult, which may be less obvious for the public to accept. That's how old directors are."
The Wind Rises - Flying Through Town Clip
According to French Ghibli fansite Buta Connection, the NHK documentary 1,000 Days Record / Declaration of Retirement highlighted one fact: Never has Hayao Miyazaki been so unsure of himself in choosing to adapt this story.
Initially based on a forty-page manga about Jirô Horikoshi's aeronautical engineering feats, the story seemed so interesting and so innovative to producer Toshio Suzuki that the latter kept pushing Hayao Miyazaki to develop it further into animation. When the decision was made to produce the film, Miyazaki himself constantly asks himself this question: 'How do you depict a character, admittedly passionate about aviation, but also indirectly responsible for the deaths of tens of thousands of people during World War II?' Miyazaki's own wife also disagreed with him, suggesting instead suggesting working on something closer to My Neighbor Totoro. But Totoro is a film that has already been made," protests the director.
Photograph of Ayako Yano, the inspiration behind the character Naoko in the film.
The solution found by Miyazaki is simple: He would add in an emotional thread of the love story between Naoko and Jirô. However, he does not choose to show a fictitious love story, which would have watered down the historical reality and disempowered Jirô by making him more endearing. Instead, he weaved in the true love story of the author Tatsuo Hori with his wife Ayako Yano who suffered from pulmonary tuberculous. Yano died of tuberculosis barely a year after their wedding, and who he accompanied to her death after a stay of a few months at a sanatorium at the foot of Mt. Yatsugatake in 1935.
Naoko's Disease
Tuberculosis is an infectious disease caused by Mycobacterium tuberculosis. When tuberculosis develops, it causes fever and bloody sputum, gradually destroying the lungs and reducing the ability to breathe.
During the period The Wind Rises was set, the disease was considered incurable and had a high mortality rate. At the time, patients were sent to a sanatorium in the highlands such as Karuizawa, where they were given Open-Air Therapy (大気(安静)療法). This involved patients resting on a clear plateau where they inhaled the mountain's clear air. The film depicts this by showing scenes of nurses arranging beds outdoors and letting patients lie there.[11]
"The central question of our time is now 'How do we live in the face of the uncertainties of our time? The wind rises means 'How to live when there is wind blowing?' This is the real meaning of our film."
—Hayao Miyazaki during the 2011 Tōhoku earthquake
This addition allowed the setting of
A signed photograph of Jirô in 1962.
Japan to be placed in a concrete reality: the disease was then wreaking havoc and those who were infected were condemned to an almost inevitable death. It also deepened the character of Jirô: cold in appearance, very stiff in stature, stingy in his words; he is nevertheless a passionate and whole character both professionally and in love. He knows full well that his planes will be used in war, just as he is aware that his affair with Naoko is doomed. The fact that tuberculosis is a transmittable disease adds weight to scenes where Jirô and Naoko spend time together.
Jirô and his team (as seen in this 1937 photograph) developed several models of the Zero fighter.
However, he decides to live his choices fully, to the end, despite the doubts, despite the weight of guilt and sadness. By wanting to achieve love in its purest form, by dreaming of seeing his perfect plane flying in the sky, Jirô also accepts to destroy what he holds most dear.
This film is not revisionist because it shows that Jirô is aware of the use of his planes. Through the German character Castorp, Miyazaki also condemns Japan's aggressive and murderous policy in Asia. Jirô himself recognizes his wrongs and his responsibility in the throes of war. By staging the fictionalized life of Jirô Horikoshi, Miyazaki quite simply portrays man in all his complexity and in all his nuances: passionate, destructive, amorous, imaginative, cruel, selfish and generous."[12]
"There are plenty of reasons not to make this movie. But the truth is, I want to do it..."
Kaze Tachinu originally began life as a comic published on Model Grafix magazine.
The Wind Rises was written and directed by Hayao Miyazaki and his first film since Ponyo in 2008. Prior to the film's production, the tireless director managed to produce two animated short films, Mr. Dough and the Egg Princess (2010) and Treasure Hunting (2011) and wrote the screenplay for a third short, A Sumo Wrestler's Tail (2010) for the Ghibli Museum. He also supervised and co-wrote the screenplay for The Secret World of Arrietty (2010) and From Up on Poppy Hill (2011).
Miyazaki began to conceive a story to illustrate the life of Jirô Horikoshi in 2008.[13] He published the story as a manga series in the monthly magazine Model Graphix from April 2009 to January 2010 (with a break in October 2009), with the title borrowed from Tatsuo Hori's novel The Wind Has Risen,[14] whose title is taken from Le Cimetière Marin (Graveyard by the Sea, 1920) by French poet Paul Valéry. "I drew this manga as a hobby."[15]
Naoko's name was taken from Tatsuo Hori's novel, Naoko.
The story in the manga follows the historical account of Horikoshi's aircraft development up to 1935 (the year of the Mitsubishi A5M maiden flight),[14] and intertwines with fictional encounters with Caproni and Naoko Satomi.[14] The scenes with Naoko in the manga were adapted from the novel The Wind Has Risen, in which Tatsuo Hori wrote about his life experience with his fiancée, Ayako Yano, before she died from tuberculosis. The name "Naoko Satomi" was borrowed from the female protagonist of another novel by Tatsuo Hori, Naoko.[14]
An obvious allusion to Naoko's tuberculosis, Miyazaki's mother also contracted the disease which he had previously portrayed in My Neighbor Totoro. But his family past also resurfaces through the Zero plane itself: in an interview with Télérama (n° 3338, January 4, 2014), Miyazaki explained that this film was a way to reconcile with his own father. The latter had provided rudders for the Zero plane. Miyazaki, born in 1941 and anti-militarist, argued many times with his father over this. By staging Jirô, he wants to try to understand his father's motivations, without judging him, without condemning him.
Castorp's appearance is based on long-time Studio Ghibli employee Steve Alpert. Alpert was once the director of Ghibli's Overseas Business Division. Although he left the company in 2011 due to personal reasons, he worked hard to expand Studio Ghibli overseas. He released his memoirs in 2020.
Characters frequently discuss Thomas Mann's novel The Magic Mountain, and, in a letter to Naoko, Jirô names his fleeing German friend "Mr. Castorp" after its protagonist.[14][16] The character himself is a caricature of former Ghibli employee Steve Alpert who returned to Japan to voice the character.[17]
After the release of Ponyo, Miyazaki wanted his next film to be a sequel, Ponyo on the Cliff by the Sea II, but producer Toshio Suzuki proposed to adapt the manga The Wind Rises instead. At first, Miyazaki rejected the proposal because he created the manga as a hobby and considered its subjects not suitable for children, the traditional audience of the feature animations from Studio Ghibli. According to Buta Connection, Miyazaki explained, "For me, drawing this manga is just a hobby. Making a movie about it is simply out of the question. Entertainment must be made for children. We must not make a film that is only intended for an adult audience."
Stills from the NHK documentary which features the inception of "The Wind Rises".
However, Miyazaki changed his objection after a staff member suggested that "children should be allowed to be exposed to subjects they are not familiar with". Miyazaki was inspired to make the film after reading a quote from Horikoshi: "All I wanted to do was to make something beautiful".[18] At the end of 2010, producer Toshio Suzuki said, "I made my initial suggestion to (Miya-san) in the summer of 2010. Miya-san and I continued to discuss this. I remember it was during fall when he gave me his approval and was going to try and see if he could make a movie of it. He then asked me to leave him until the end of the year."
In early 2011, the director decided to adopt the project as his new film. "I will never forget the day the decision was taken to move forward on this project," Suzuki continues. "It was December 28, 2010. Miya-san immediately started drawing the e-konte (detailed storyboards) at the start of the new year. Very quickly, he finished the parts describing Jirô's childhood, until he met Naoko, right in the middle of the Great Kantô Earthquake in 1923." According to the NHK documentary, another factor that may have played into Miyazaki moving forward was when his longtime collaborator Isao Takahata announced the production of The Tale of the Princess Kaguya.
The Wind Rises Movie CLIP - Earthquake (2014) - Studio Ghibli Movie HD
Production began in July 2011, a few months after the Tōhoku earthquake and tsunami in March 2011. Two hundred staff were assigned to work on the two-hour animated film, which required 160,000 drawings, each checked and finalized by Hayao Miyazaki. Miyazaki was determined in depicting Japan during the Taishô era and the beginning of the Shôwa era as accurately as possible. The biggest challenge Miyazaki presented himself was the depiction of large crowd scenes, "The characters who make up the crowd around the main characters are not just anyone," explains Miyazaki. "These are characters who have their own existence within the film. You should not animate them just any way, but really bring them to life." Thus, just for a four-second seconds, it took no less than 1 year and 3 months of work for a team of animators to come to the end. Miyazaki is happy with the result.
Production at Studio Ghibli had to weather major disruptions caused by the Tōhoku earthquake in 2011. Miyazaki demanded his animators go into work despite difficult circumstances.
On February 18, 2012, an unexpected event delays the production of the film. Miyazaki remained locked in his private workshop only to come out two days later not feeling well. Suzuki advised him to go see a doctor out of caution, but the director refused, saying it was a waste of time. "Even if I die, I have to leave all my e-konte. Otherwise, it's a little shameful." His friend and director Hideaki Anno would have said to him: " If you disappear, at least finish your e-konte and I will finish the film."
Miyazaki refused to move away from production, because above all, he had Isao Takahata in mind. Takahata's project, which was being worked on twenty minutes away from Ghibli's main production studio, gave motivation to Miyazaki.
Miyazaki struggled in defining Jirô's character and the film's final act.
By October 2012, Miyazaki continued to struggled with the morality of the film, as well as its ending. Miyazaki had trouble finding Jirô's feelings in the face of the paradox of his dream of wanting to create a plane, which in the end will turn out to be a war plane. He also concluded that the Zero managing to fly is not necessarily an appropriate end for the film. And he always asks the same question: "Jirô is building a war plane." What final should we write? What satisfactory end should the film end with, beyond the completion of this plane?". Miyazaki struggled with creating a satisfying finale, "From the beginning, I knew it would not be easy. But this is really difficult."
Hayao Miyazaki talks about the picture Promin's Light (プロミンの光), presented in honor of Osamu Sagawa in 2019. One of Miyazaki's advocacies is to shine light on the plight of those with leprosy, which he featured in Princess Mononoke.[19] For The Wind Rises, it was those who suffered from tuberculosis.
During one weekend, Hayao Miyazaki went to see a photo exhibition at the Tama Zenshôen National Sanatorium. Leprosy could apparently not be transmitted to others. But at the time, he saw how the sick were kept away from society. Despite this forced isolation, the suffering tried to live with dignity. This visit knocked Miyazaki down a bit. On the way home, he and his wife didn't talk about the exhibit at all. But through it, the director draws the lesson that one should not live his life in half measures.
Suddenly, Miyazaki began to retouching Jirô's expressions on certain shots put aside by the animators. Miyazaki thought that Jirô must feel something stronger about his failures. He changes his face, including baring his teeth, to accentuate his determination to move forward. His face becomes more precise. "For the people of that time, war was not a choice," he explains. "It was like that. In other words, it's like now. Every era knows upheavals, but even with that, one must live fully."
Miyazaki, having visited the Tama Zenshôen National Sanatorium, helped inspire him in defining Jirô's resolve in the final act.
He also goes back to the film's intension note and writes: "With each upheaval in an era, everyone's dreams are perverted. The questions do not necessarily find answers. But despite life's obstacles, you still have to live with strength."
In time, Miyazaki shifted his focus on the love story between Jirô and Naoko, as Naoko's condition worsens at the sanatorium. With these romantic scenes, the director also hopes to give the film another direction and not just offer the story of a man who wants to create a plane in the context of war.
"Thank you all for your work. I am a little ashamed to admit it, but this is the first time that I cried for a film that I have created."
—Hayao Miyazaki during the film's premiere
Hideaki Anno and Miyazaki share a special bond, as the former views him as a mentor.
According to Buta Connection, at this stage of production, however, there is still one unanswered question: who will dub Jirô? For Hayao Miyazaki, Jirô is an intellectual. "At that time, intelligent people spoke clearly and with a confident voice," he explains. "Jiro doesn't speak much because he's brilliant. When you're like him, you don't talk unnecessarily. He is therefore economical in words, but it is not because he is introverted. He's a complex person.
If the characteristics of character Jirô are clear for everybody, the team, however, found no professional doubler that matched his personality. "Maybe we can turn to someone who doesn't come from the dubbing world?" "Suzuki went on, "Like (Hideaki) Anno, for example. It would be interesting to do a test with him." Miyazaki at first scoffed at the idea, but then began seriously considering Suzuki's suggestion.
Two days later on December 14, 2012, Anno came into the studio for his audition. Miyazaki is immediately convinced by the director's fairly neutral voice. "It's good. That's it. There aren't many people who have that kind of voice. Accept, I beg of you."
Anno at the dubbing studio with Miyazaki.
"He gave me a big smile like I hadn't seen in a long time, and he told me he wanted me to do Jiro. I knew I had no more choice!" "At the hearing, Miyazaki said that the role of Jirô was that of a rather reserved man, frugal with words" he added. "But when I looked at the e-konte, he kept talking, singing and sometimes even in French and German! He laughed at me! I finally agreed, telling myself that even if I couldn't, anyway, it would be the fault of Suzuki and Miyazaki who chose me. Nevertheless, I made all possible efforts!" "If Miya-san asks me, then I can't refuse," Anno concludes.
Anno with Miyazaki promoting the film following its release.
Jirô is someone who created an airplane during a difficult time. Anno also creates feature films in a difficult context. For Miyazaki, it is quite obvious to bring these two personalities together. "It's such a surprising decision for all of us! Do I break the news to everyone or do I keep it a secret?" Miyazaki finally goes from office to office announcing his choice.[20] "For the recording sessions, I kept my natural voice. Miya-san was happy with it, and it made me feel that my approach to the character was the right one. Creating animation and films, or creating airplanes may give a different result for the finished product, but I am convinced that these two professions to which we are fully dedicated, Jirô like myself, is to give shape to dreams, to make them come true. I felt very close to Jirô, to what he experiences on a daily basis in that aspect," Anno explains. "To create a film of more than 2 hours is an immense work, physically and mentally. In the last scene, I was really upset."
Japan July 20, 2013 Theater Toho
Japan October 21, 2013 DVD Toho
USA February 21, 2014 Theater The Walt Disney Company
USA November 18, 2014 DVD The Walt Disney Company
THE WIND RISES Trailer - Festival 2013
According to Buta Connection, on December 12, 2012, Studio Ghibli formalized the two new feature films in production, The Wind Rises for Hayao Miyazaki and The Tale of the Princess Kaguya for Isao Takahata, scheduled for a double release for summer 2013. This would have been the first time that the works of the two directors were released together since the release of the films My Neighbor Totoro and Grave of the Fireflies in 1988.
However, on February 4, 2013, less than two months after the official announcement of the two projects, Tôhô announced on their official website that the release of the Tale of Princess Kaguya would be delayed until November 23, 2013, due to Takahata failing to complete his storyboards. The Wind Rises was released in Japan on July 20, 2013, to 454 screens nationwide and in within two days, from July 20 and 21, it earned 960,880,000 yen in the box office revenue. Its audience mobilization was 747,451, making it one of the most popular films of the year. As of January 28, 2014, its box office revenue has exceeded 12.20 billion yen.
The Chairman of Studio Ghibli Koji Hoshino and Naoko's voice actress Miori Takimoto at the 70th Venice International Film Festival premiere event.
The film played in competition at the 70th Venice International Film Festival. It had its official North American premiere at the 2013 Toronto International Film Festival, although a sneak preview of the film was presented earlier at the 2013 Telluride Film Festival (the film screened outside the official program).
Walt Disney Studios Motion Pictures distributed the film in North America through its Touchstone Pictures banner. The film's English dubbing was directed by Gary Rydstrom. Disney held a one-week release window in the Los Angeles theatrical circuit for the film beginning on 8 November 2013, so that it could qualify for Academy Awards consideration. The film was released theatrically on 21 February 2014, in select cities, with wide release on February 28. The film was released in the United Kingdom on May 9, 2014, with distribution by StudioCanal.
Walt Disney Studios Japan released the movie on Blu-ray Disc and DVD in Japan on June 18, 2014.
In the United States, Walt Disney Studios Home Entertainment released The Wind Rises on Blu-ray Disc and DVD on November 18, 2014. The Wind Rises release includes supplement features with storyboards, the original Japanese trailers and TV spots, a Behind the Microphone featurette with members of the English voice cast and a video from when the film was announced to be completed. The audio format for both English and Japanese language are in mono (DTS-HD MA 1.0).
Even though Disney's North American rights to Studio Ghibli films they owned expired in 2017, Walt Disney Studios Home Entertainment continued to distribute The Wind Rises until 2020 when GKIDS re-released the film on DVD and Blu-ray on September 22, 2020, with distribution through Shout! Factory. The reason why it took longer for a re-release than other Studio Ghibli movies was due to the fact that it was still a fairly new film at the time, and that Disney still held the rights to the film in the United States.
The film's score was composed and conducted by Joe Hisaishi, and performed by the Yomiuri Nippon Symphony Orchestra.
The original 1973 single album art for Yumi Matsutoya's Hikōki-gumo (ひこうき雲).
The film also includes singer-songwriter Yumi Matsutoya's 1973 song Hikōki-gumo (ひこうき雲). Matsutoya has collaborated with Studio Ghibli before in the production for Kiki's Delivery Service, which features her songs Rouge no Dengon (ルージュの伝言) and Yasashisa ni Tsutsumaretanara (やさしさに包まれたなら). Producer Suzuki recommended Hikōki-gumo to Miyazaki in December 2012, feeling the lyrics resembled the story of The Wind Rises.[14] Suzuki personally called Matsutoya, "Your song, Hikôki-gumo (term designating the cloud trails left by an airplane), fits perfectly with the universe of the film on which we are currently working on," he told her. "I am discussing with our director, Hayao Miyazaki, the possibility of using it as the theme song for the film."
Hikōki-gumo was re-released on vinyl record to coincide with a special exhibition at the Ghibli Museum. Miyazaki first encountered the song just after he graduated from university. Upon hearing his son play the song one day, the elder Miyazaki replayed it again and again until the cassette tape broke.[21]
Upon hearing this request, Matsutoya responded, "You're making me the shiver... It seems that forty years of my musical career existed solely for this moment..."
The Wind Rises soundtrack was released in Japan on July 17, 2013, by Tokuma Japan Communications.[22]
Das gibt's nur einmal (English: It only happens once) is the German song Hans Castorp sings while playing the piano at Hotel Kusakaru in the film. Jiro Horikoshi and Naoko's father later join the singing. This song is composed by Werner Richard Heymann for the German movie Der Kongreß tanzt.
Main article: The Wind Rises/Gallery
Voice Cast
Jiro Horikoshi
Kaichi Kaburagi (young) Joseph Gordon-Levitt
Zach Callison (young)
Naoko Satomi
Mayu Iino (young) Emily Blunt
Madeleine Rose Yen (young)
Kiro Honjo
Hidetoshi Nishijima John Krasinski
Masahiko Nishimura Martin Short
Castorp
Stephen Albert Werner Herzog
Naoko's Father
Morio Kazama William H. Macy
Jiro's mother
Keiko Takeshita Edie Mirman
Kayo Horikoshi
Maki Shinta (young) Mae Whitman
Eva Bella (young)
Jun Kunimura Mandy Patinkin
Mrs. Kurokawa
Shinobu Otake Jennifer Grey
Nomura Mansai Stanley Tucci
Fight Engineer
Unknown David Cowgill
Katayama
Darren Criss
Mitsubishi Employee
Mae Whitman
Sone
Additional English Voices
Matt Adler
Holly Dorff Long
Moosie Drier
Jackie Gonneau
Nicholas Guest
Richard Horvitz
Rif Hutton
Matthew Labyorteaux
Michelle Ruff
Byron Thames
Madeleine E. White
David Zyler
Director, Screenplay Hayao Miyazaki
Executive Producer Koji Hoshino
Animation Director, Character Design Kitarō Kōsaka
Producer Toshio Suzuki
Sound Director Koji Kasamatsu
Key Animation Akihiko Yamashita, Akiyo Okuda, Atsuko Otani, Atsuko Tanaka, Atsushi Tamura, Eiji Yamamori, Fumie Imai, Hideaki Yoshio, Hideki Hamasu, Hiroko Minowa, Hiromasa Yonebayashi, Hiroomi Yamakawa, Hiroyuki Aoyama, Katsuya Kondo, Kazuhide Tomonaga, Kazuyoshi Onoda, Kenichi Yamada, Kiyotaka Oshiyama, Madoya Hoshino, Makiko Futaki, Masaaki Endou, Masafumi Yokota, Megumi Kagawa, Michiyo Suzuki, Sachiko Sugino, Shinji Otsuka, Shinya Ohira, Shougo Furuya, Shunsuke Hirota, Taichi Furumata, Takeshi Honda, Takeshi Inamura, Tomoko Miura, Tsutomu Awada, Yoshimi Itazu
Background Artists Ayae Kanbe, Kikuyo Yano, Kiyoshi Samejima, Masako Nakazato, Mitsuo Yoshino, Naomi Kasugai, Noboru Yoshida, Ryoko Ina, Satoko Nakamura, Sayaka Hirahara, Shiho Sato, Takashi Omori, Tatsuya Kushida, Woo Hoon Ryu, Yoshiaki Honma, Yoshikazu Fukutome, Youichi Nishikawa, Youichi Watanabe, Yuka Nitta, Yumi Ishii
In-Between Animation Akane Ōtani, Akiko Teshima, Alexandra Weihrauch, Asako Matsumura, Ayaka Saitou, Ayano Sugai, Chae Jeok Kang, Eimi Tamura, Emi Ohta, Haruyasu Watanabe, Hirofumi Yamada, Hisako Yaji, Kaori Fujii, Kaori Itou, Katsutoshi Nakamura, Keiko Tomizawa, Kengo Takebana, Kiyoko Makita, Kumiko Tanihira, Kumiko Terada, Mai Nakasato, Makiko Suzuki, Mariko Matsuo, Mariko Suzuki, Masakiyo Koyama, Masako Akita, Masami Nakanishi, Masaru Okuwaki, Masaya Saito, Masayo Andō, Maya Fujimori, Mayumi Ohmura, Megumi Higaki, Miki Itou, Minoru Ohashi, Misa Koyasu, Misaki Kikuta, Mitsuki Chiba, Naoki Fuchigami, Naoko Kawahara, Naoya Wada, Natsumi Yasu, Rie Eyama, Rie Nakagome, Ryosuke Tsuchiya, Ryuichi Yamauchi, Ryuuji Iwabuchi, Seiko Higashi, Setsuya Tanabe, Shinichiro Yamada, Shiori Fujisawa, Shotaro Imai, Shouko Nagasawa, Shuichi Onda, Sumie Nishido, Taichi Sato, Takemasa Shiroda, Tomoyo Nishida, Yasumi Ogura, Yayoi Toki, Yōjirō Arai, Yoshie Noguchi, Yu Matsuura, Yu Fen Cheng, Yui Ōzaki, Yuka Matsumura, Yukari Furiya, Yukari Yamaura, Yukiko Kunitake, Yuko Tagawa
Color Design Michiyo Yasuda
Art Director Yoji Takeshige
Music Joe Hisaishi
Editor Takeshi Seyama
The Wind Rises THIS IS ANIMATION, Shogakukan, July 2013
The Wind Rises Visual Guide Newtype Editorial Department, Kadokawa Shoten, July 2013
Studio Ghibli Storyboard Complete Works 19 - The Wind Rises", Tokuma Shoten, July 2013
Ghibli THE ART Series The Wind Rises Tokuma Shoten, July 2013
The Wind Rises" Tokuma Shoten <Tokuma Anime Picture Book>, August 2013
The Wind Rises Film Comic Animage Editorial Department, Tokuma Shoten (upper and lower), September 2013
Kaze Tachinu Roman Album Tokuma Shoten, October 2013
The Wind Rises Hayao Miyazaki's Delusion Comeback, Dainippon Painting, November 2015. Painting book
The Wind Rises Ghibli Textbook 18 Studio Ghibli Edition, Bungei Shunju <Bungei Shunju Bunko>, May 2018
The Wind Rises Cinema Comic 18, Bungei Shunju <Bungei Ghibli Bunko>, July 2019
↑ THE WIND RISES (12A). StudioCanal. British Board of Film Classification (March 31, 2014). Archived from the original on April 7, 2014. Retrieved on May 28, 2021.
↑ Robles, Manuel (2013). Antología Studio Ghibli: Volumen 2 p. 80 Barcelona: Dolmen Editorial. ISBN 978-8415296935
↑ The Wind Rises (2014) – Box Office Mojo. Archived from the original on April 4, 2014. Retrieved on May 28, 2021.
↑ International Total Gross. Box Office Mojo. Archived from the original on February 28, 2014. Retrieved on May 28, 2021.
↑ "Historical Perspectives on Hayao Miyazaki's The Wind Rises (2013)", Not Even Past
↑ "Professional Work Style Special Edition Film Director Hayao Miyazaki's Work "The Wind Rises" 1000 Days Record / Declaration of Retirement" on NHK
↑ Shone, Tom (February 21, 2014).The Wind Rises: a flight into Hayao Miyazaki's magic and poetry". The Guardian. Retrieved December 09, 2014.
↑ "Le Cimetière Marin".
↑ "Windows and the Invisible Light" by Junji Nishikawa, Window Research Institute
↑ "The Prose and Poetry of Tatsuo Hori"
↑ "Commentary on The Wind Rises", Filmaga
↑ "The Wind Rises Analysis", Buta Connection
↑ "Person Visit - Hayao Miyazaki", Yahoo News.
↑ 14.0 14.1 14.2 14.3 14.4 14.5 The Wind Rises Visual Guide (Japanese) Kadokawa Shoten (20 July 2011). ISBN 978-4-04-110510-8
↑ Hayao Miyazaki interview with Kazutoshi Handô "It's the first time I've cried in my movie - The Wind Rises War and the Japanese - The Birth of the Zero, the Great Kantô Earthquake... Just a testimony of an era when life was difficult." Bungei Shunju, " Vol. 91, No. 9, Bungei Shunju , August 1, 2013, p. 95.
↑ "The Wind Rises: On a higher plane", Chicago Reader.
↑ "The Wind Rises Production Notes", Sci-Fi Japan.
↑ "The Wind Rises", LA Times.
↑ Lecture by Hayao Miyazaki at Hansen's Disease Museum - Osamu Sagawa, former chairman of Tama Zenseien on January 29, 2019, Asahi Shimbun
↑ "Transcript of the NHK Documentary", Buta Connection
↑ "The Cloud of the Airplane", Tokyo Art Beat
↑ Kaze Tachinu Music Official Site
The Wind Rises on Studio Ghibli
The Wind Rises on Walt Disney Japan
The Wind Rises on GKIDS
The Wind Rises on HBO Max
The Wind Rises on Anime News Network
The Wind Rises at the Internet Movie Database
The Wind Rises on Wikipedia
The Wind Rises DVD on Amazon
Films directed by Hayao Miyazaki
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text:
Author: David Watson
David Archard, Kate Soper, Richard Rorty, Michael Gardiner, Andrew Dobson, Sadie Plant, Keith Ansell-Pearson, David Macey, Tom Furniss, Alasdair MacIntyre, David Watson, Kevin Magill, Lucy Frith, Steve Redhead and Jean-Jacques LecercleRP 060 (Spring 1992)
Kate Soper, Troubled Pleasures: Writings on Politics, Gender and Hedonism Peter Osborne, ed., Socialism and the Limits of Liberalism Dave Archard Richard Rorty, Objectivity, Relativism and Truth and Essays on Heidegger and Others, Philosophical Papers, Vols. I and II Kate Soper Terry Eagleton, Ideology: An Introduction Richard Rorty Gary Saul Morson and Caryl Emerson, Mikhail Bakhtin: Creation of […]
ReviewsA Morally Deep World: An Essay on Moral Significance and Environmental Ethics, After Bakhtin: Essays on Fiction and Criticism, Alan D. Schrift, Alan White, Alasdair MacIntyre, Alex Klaushofer, Allan Stoekl, American Philosophy and the Romantic Tradition, Andrew Dobson, Anne Beezer, Border Dialogues, Caryl Emerson, Conditions Handsome and Unhandsome: the Constitution of Emersonian Perfectionism, Dave Archard, David Lodge, David Macey, David Watson, Dostoyevsky After Bakhtin: Readings in Dostoyevsky's Fantastic Realism, Electing for Democracy: Proportional Representation and the Left, Elisabeth Roudinesco, Elizabeth V. Spelman, Elzinga, Freya Mathews, Friedrich Nietzsche, Gary Saul Morson, Ideology: An Introduction, In Science We Trust, Inessential Woman: Problems of exclusion in feminist thought, Jacques Lacan & Co. A History of Psychoanalysis in France 1925-1985, Jean-Jacques Lecercle, Jonathan Rée, Judy Davies, Kate Soper, Keith Ansell Pearson, Kevin Magill, lain Chambers, Lawrence E. Johnson, Lester H. Hunt, Luce Irigaray: Philosophy in the Feminine, Lucy Frith, Malcolm V. Jones, Margaret Whitford, Mike Gardiner, Mikhail Bakhtin: Creation of a Prosaics, Modernism and the European Unconscious, Morality and Modernity, My Sister and I, Nancy Fraser, Nietzsche and the Origin of Virtue, Nietzsche and the Question of Interpretation. Between Hermeneutics and Deconstruction, Noel Parker, Objectivity Relativism and Truth and Essays on Heidegger and Others, On Bataille, Peter Collier, Peter Osborne, Pierre Bourdieu, Portrayals of Revolution: Images Debates and Patterns of Thought on the French Revolution, Richard Kuper, Richard Rorty, Ross Poole, Russell B. Goodman, Sadie Plant, Sandy Petrey, Socialism and the Limits of Liberalism, Speech Acts and Literary Theory, Stanley Cavell, Steve Redhead, Terry Eagleton, The Ecological Self, The Political Ontology of Martin Heidegger, Tom Furniss, Troubled Pleasures: Writings on Politics Gender and Hedonism, Unruly Practices: Power Discourse and Gender in Contemporary Social Theory, Within Nietzsche's Labyrinth
American Philosophy: R.I.P.; Crossing the Channel; The Astrological Scene
David WatsonRP 040 (Summer 1985)
News, Comment and Letters AMERICAN ?HILOSOPHY: R.I.P. The latest 0984-85) series of lectures sponsored by the Royal Institute of Philosophy was on 'American Philosophy'. Given the history of this prestigious series (now in its nineteenth year), this was anunusual choice. The Institute has never been radical in its deployment of this interesting piece of intellectual […]
Newsamerican philosophy, analytic/continental divide, French philosophy, Radical Philosophy


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For an introduction to these issues, see our page on bodily integrity
Carpenter: "Intersex variations, human rights, and the International Classification of Diseases"
This open access paper published by Harvard's Health and Human Rights Journal highlights how international clinical classifications facilitate or specify practices that violate the human rights of intersex people. It also provides some analysis of a recent Family Court case, analysed from a slightly different perspective to recent papers in Bioethical Inquiry.
AHRC launches major consultation: protecting rights in the context of medical interventions
The Australian Human Rights Commission has launched a major project to consult on protecting the human rights of people born with variations in sex characteristics in the context of medical interventions. The project is being assisted by an expert reference group that includes directors of IHRA, AISSGA and representatives of other intersex/parent-led organisations, disability and…
Submission: Draft revised guidelines Sexual boundaries in the doctor-patient relationship
Morgan Carpenter, for IHRA (then OIIAU), and Bonnie Hart, for the AISSGA, made a joint letter of submission in March to the Medical Board of Australia on proposed "Draft revised guidelines Sexual boundaries in the doctor-patient relationship". Intersex variations (often contentiously termed "disorders of sex development" in clinical settings) relate to personal sex characteristics, and…
At present, a minority of Australian have digital health records, and such records are not used routinely. As the number of people with digital records increases, it is likely that they will increasingly be used as a way of documenting and tracking our health. The implementation of the government's national My Health Records scheme for…
Shadow Report submission to the Committee on the Elimination of Discrimination against Women
IHRA has made a Shadow Report submission to the Committee on the Elimination of Discrimination against Women (CEDAW), on the situation of intersex people in Australia. This submission builds upon our recent submissions to the Australian Law Reform Commission and the UN Human Rights Committee, within parameters set by a much reduced word count. It…
Submission to the Australian Law Reform Commission
IHRA has made a submission to the Australian Law Reform Commission review of the family law system. The submission is endorsed by the AIS Support Group Australia, Disabled People's Organisations of Australia, National LGBTI Health Alliance, and People with Disability Australia.
Steph Lum: panel presentation at Health in Difference
This speech was given in a panel presentation at the National LGBTI Health Alliance conference, Health in Difference, in Sydney, 12 April 2018. Good evening everyone, my name is Steph. My story is a story not often heard – it's a story of just being a really boring everyday intersex person. Hey. Being intersex just…
Health in Difference, 2018
This year's Health in Difference conference, organised by the National LGBTI Health Alliance, contained a set of presentations and workshops on intersex issues, by intersex people. Introductory plenary session Bonnie Hart (AISSGA) gave an insight into intersex lived experience in a 10 minute plenary speech at the start of the conference. Plenary panel presentation: "Working…
Submission on birth certificate reform in Queensland
IHRA has made a formal submission to the Department of Justice and Attorney General of the Queensland Government on proposed amendments to legislation on birth certificates. The submission is grounded in the Darlington Statement of March 2017, and the Yogyakarta Principles plus 10.
The Yogyakarta Principles +10 launched
An important and long-awaited supplement to the Yogyakarta Principles is published today. The Principles apply international human rights law in relation to sexual orientation, gender identity, and now also gender expression and sex characteristics.
Steph Lum: speech to Canberra think tank on LGBTIQ inclusion
Steph Lum gave this speech to the Inclusive Canberra think tank, held by the ACT LGBTIQ Ministerial Advisory Council, on 14 November 2017. Tonight I am speaking as a young person with an intersex variation. I'm really encouraged that we have such a positive environment here in the ACT and there's a lot of energy…
UN Human Rights Committee calls for recognition of right to bodily integrity
The UN Human Rights Committee has made a powerful call to recognise the human rights of intersex people, including through ending irreversible medical treatment that is not absolutely medically necessary, and that takes place before a child can comprehend and provide informed consent.


Brightman released a DVD collection of her music videos on October 3, 2006 under the title of Diva: The Video Collection. The Singles Collection is the accompanying CD, released on the same date. The album marked the first time Brightman had released a greatest hits album in the United States; it reached #1 on the Billboard Classical Crossover chart. Her other reflective offerings for Europe were The Very Best of 1990-2000 and Classics: The Best of Sarah Brightman.
During this time, subsequent appearances include the Concert for Diana in July 2007, where she sang "All I Ask of You" from The Phantom of the Opera with Josh Groban. Around 15 million people from across the UK watched Concert for Diana at home, and it was broadcast to over 500 million homes in 140 countries; On July 7, 2007 Brightman performed four songs ("Nessun Dorma", "La Luna", "Nella Fantasia" and "Time to Say Goodbye") and debuted her single "Running" at the 2007 IAAF Championships in Osaka, Japan on 25 August. She also participated at the 2007 Macy's Thanksgiving Day Parade, where she performed "The Journey Home" on the Jolly Polly Pirate Ship.
On May 2007, Brightman was invited along with Lesley Garrett to sing "Abide With Me" at the opening of the new Wembley Stadium in London before the FA Cup final between Chelsea and Manchester United.
At a dinner held at The Mansion House, on September 10, 2008, His Royal Highness the Prince of Wales highlighted the urgent need for action to halt tropical deforestation. The Prince invited Brightman to sing at the event they hosted to engage the financial community in the task of finding a solution to the problem of making rainforests worth more alive than dead. The music performed was Nella Fantasia (used in the soundtrack of the movie The Mission) and further declared a hymn to the rainforests.
On January 29, 2008, Brightman released her first album in five years: Symphony, influenced by gothic music.. In the United States, it became Brightman's most successful chart entry and also her highest ranked album on Billboard's "Top 200 Albums". It was also a #1 album on two other Billboard's charts: "Top Internet Albums" and "Top Classical Crossover Albums". The album moved there 32,033 copies in first week, according to Nielsen Soundscan. The album was a Multi-Platinum and a top 5 release in China, Taiwan, Canada, Mexico, Japan, and Poland, and a top 20 across Europe.
Featured on the album were artists Andrea Bocelli, Fernando Lima, and KISS vocalist Paul Stanley, who duets with Brightman on "I Will Be with You", the album version of the theme song to the 10th Pocket Monsters motion picture, Dialga VS Palkia VS Darkrai (Pokémon: The Rise of Darkrai). On January 16, 2008, she also appeared in concert at Vienna's St. Stephan's Cathedral, performing songs from her new album. Special guests who sang duets with Brightman include Italian tenor Alessandro Safina, Argentinean countertenor Fernando Lima, and British singer Chris Thompson.
She performed two songs, "Pie Jesu" and "There You'll Be", at the United States Memorial Day concert on May 25, 2008 held on the west lawn of the United States Capitol in Washington D.C.. The top-rated show was broadcast live on PBS before a concert audience of 300,000 and millions more at home, as well as to American troops serving around the world on the American Forces Radio and Television Network.
Brightman made her feature film debut as Blind Mag in the rock musical film Repo! The Genetic Opera which was released on November 7, 2008. On August 8, 2008, Brightman was honored to sing the Olympic theme song, "You and Me", with Chinese star Liu Huan in both Mandarin and English at the Beijing Olympics opening ceremony. The event appeased the already established supreme popularity and recognition of Brightman in the Asian country. The performance was broadcast to over five billion viewers. In the 26 hours after the performance, "You and Me" was downloaded 5.7 million times.
On November 4, 2008, Brightman released her first holiday album, entitled A Winter Symphony, the album debuted at number #38 on the Billboard Top 200 and scored a number six in the Top Holiday Albums, being the first entry for Brightman on this chart. To accompany Symphony and A Winter Symphony, Brightman embarked on a tour in Autumn 2008; "The Symphony World Tour" featured new and groundbreaking technology, with virtual and holographic stage sets that had never been seen before in any touring concert production.