40/10/10 – Optimal conversion rates in relation to lead magnet, tripwire, and core offer, respectively.
ActiveCampaign (AC) – a popular email marketing automation tool.
Affiliate – An affiliate member can receive commission for helping refer new customers.
Analytics – is the measurement, collection, analysis, and reporting of web data for purposes of understanding and optimizing web usage.
Angel Investor – An individual who invests a certain amount of money (usually 25-500k) early on, in order to get the company off the ground.
API – Application Programming Interface. An API is a way for web programs to connect with one another using code instead of an interface in a browser. You can use email service providers' APIs to integrate them with Leadpages.
Autoresponder – a program that automatically generates a set response to all messages sent to a particular email address.
Average Customer Value (ACV) – A formula that tells you how much your customer is worth.
Average Visitor Value (AVV) – A formula that tells you how much you can pay per click.
Aweber (AW) – a popular email marketing automation tool.
Bottom of Funnel (BOFU) – Relates to content and offers at the "Conversation" stage of the marketing funnel.
Bootstrapping – Financing a startup through a founder's personal resources or otherwise extremely limited external resources.
Burn Rate – The rate at which startups exhaust raised capital to fund operations in excess of income. Related to runway.
Call to Action (CTA) – An instruction given to your audience so that they take an immediate, measurable action.
Churn Rate – Customers lost subsequent to acquisition in a subscription-based business model. Because of the churn rate, your growth might not look like you think it will.
ClickFunnels (CF) – A popular landing page and funnel-building software.
Click Through Rate (CTR) – A way to measure the ratio of clicks to the number of people who saw an ad, email, or landing page. It is calculated by number of clicks / number of impressions X 100.
Conversion – Conversion is tracked based on the type of Call to Action configured for your landing page or Lead Magnet. If your Call to Action directs people to an opt-in form, conversion is measured by the number of unique submissions to the list integrated with that opt-in form. If your Call to Action directs people to a URL, conversion is measured based on the number of unique visits to your page (not on whether they completed a transaction on the URL you sent them to.) Keep in mind, Leadpages tracks these conversions regardless if single or double opt-in are activated.
Conversion Rate Optimization (CRO) – The process for increasing the number of people who take a specific action on your site.
Core Offer (CO) – You're flagship offer in a sales funnel.
Cost Per Click (CPC) – The amount you pay a publisher (like a website, social media platform, etc) each time one of your ads is clicked. See also: "PPC".
Cost Per Lead (CPL) – An advertising pricing model where the advertiser is charged for each lead generated from the ad.
Customer Lifetime Value (CLV) – The forecast of total profit that company can expect to earn from one customer throughout the lifetime of their relationship.
Customer Relation Management (CRM) – software that is designed to help businesses automate and synchronize sales, marketing, customer service, and technical support.
Deck (aka Pitch Deck) – A 10-slide power point presentation that covers all aspects of your business in a concise and compelling way. There is a standard format and real artistry to making a good deck. Do your homework, get lots of feedback, and consider hiring a graphic designer to polish the final version.
Double Opt in – Requires users to "Confirm" their subscription via email after opting in to your form.
Domain Name Forwarding – Domain name forwarding lets you automatically direct your domain name's visitors to a different website.
Domain Name Masking – Masking prevents visitors from seeing your domain name forwarding by keeping your domain name in the web browser's address bar.
Email Service Provider (ESP) – A company that provides email marketing or bulk email services, such as MailChimp, AWeber, and Constant Contact.
Embed Code – A section of code that is "embedded" on a page to create an object, such as a video player.
Engine – The Digital Revenue Engine is the Unfunnel course and training kit that outlines our entire product launch campaign strategy along with providing 36 done-for-you, 'copy & paste' turnkey landing pages, blog posts, website design hacks and email marketing campaign templates and training videos.
Execution Plan (EP) – A term for a step-by-step marketing tactic guide.
Google Analytics (GA) – Software offered by Google that tracks and report website traffic.
Google Tag Manager (GTM) – A system offered by Google that manages tags used to track and report on website pixels.
Growth Hacking – A term to describe a marketing technique that focuses on quickly finding scalable growth through non-traditional and inexpensive tactics such as the use of social media.
Guerrilla Marketing – an advertisement strategy concept designed for businesses to promote their products or services in an unconventional way with little budget to spend. This involves high energy and imagination focusing on grasping the attention of the public in more personal and memorable level.
Hidden Fields – These give you another layer of customization to use and are intended for advanced users.
HTML – HyperText Markup Language, commonly referred to as HTML, is the standard markup language used to create web pages.
iframe – An iframe (Inline Frame) is used to embed one HTML web page inside another HTML web page. Typically, it's used to insert content from another source, such as a video, image, survey, or other media content, into a web page without losing its original style or diminishing its functionality.
Integrations – The ability to "integrate" with other services, such as Email Service Providers.
Key Performance Indicator (KPI) – A metric used to track success of an business or marketing initiative.
Landing Page grader – A free service that provides insights on how to optimize your landing page.
Launch – To start a company or push a website live.
Lead – A potential customer. Typically they have expressed an interest by giving contact information, such as an email address.
Leadbox – The forms used for capturing a user's information (email, name, address, etc.) in the form of an opt-in. They are designed to be used on your own website.
Lead Magnet (LM) – an irresistible bribe offering a specific chunk of value to a prospect in exchange for their contact information. The goal of the Lead Magnet is to maximize the number of targeted leads you are getting for an offer. It's the first step in my Digital Revenue Engine launch process.
Leadpage – A landing page used to convey information and capture leads via an opt-in form.
Lean Startup – Similar to Growth Hacking. The core mission of a lean start-up is to prove the business concept as quickly and cheaply as possible.
Loss Leader Pricing – Selling something at a loss as a form of marketing expense to bring in customers you expect repeat business from.
Low Hanging Fruit – The easiest thing your company can do to bring cash in the door. Often hard to identify, but crucial for start-up success.
Machine – The Inbound Selling Machine is the newest Unfunnel training course that outlines our entire blog-to-sale content strategy along with providing 7 done-for-you, 'copy & paste' turnkey blog post funnels and training videos.
Marketplace – Website that hosts templates that are available for purchase.
Middle Of Funnel (MOFU) – Relates to content and offers at the "Evaluation" stage of the marketing funnel.
MMBF – Make Money By Friday Mastermind Group. A private insider network and exclusive Facebook group for members of Unfunnel Growth Labs and premium monthly MMBF mastermind calls (hint: it's the group this glossary is originally posted in).
Mobile Responsive – is a type of template that can provide an optimal viewing and interaction experience across a wide range of devices (from desktop computers to mobile phones).
MVP – Minimum Viable Product. The bare-bones version of a product required to achieve proof of concept. Often used in the creation of new software that will be Beta tested, and later upgraded with extra features.
Newsjacking – Politicians from one party do it to their opposing party all the time. When press coverage of your long-planned product announcement gets diminished by competing announcements, your company is a victim of newsjacking.
Opt-in Page – A landing page used to gather visitors' information via an opt-in form.
OptimizePress (OP) or OptimizePress2 (OP2) – A WordPress plugin that easily creates landing pages, sales pages, membership portals, and product launch funnels.
One Time Offer (OTO) – A scarcity offer that is only made once to a specific audience. Similar to a flash sale.
Pivot – Change directions as a company. This is usually used to describe going after a different market segment or using an established technology for an entirely new purpose.
Pixel – Little snippets of code advertisers place on their web pages that allow them to follow you around the web with relevant ads. See also: "Retargeting".
PLF – A system created and promoted by Jeff Walker that provide step-by-step training in launching a product.
Pre-population – Settings that allow you to predetermine values and pre-populate form fields. For example, by doing this, subscribers will fill out less information, making the opt-in process quicker.
Revenue Maximizer (RM) – also called a Profit Maximizer – An immediate up-sells offered after the Core Offer that serves to increase the average transaction value per customer.
Re-targeting – A marketing strategy that places advertisements in front of an audience based on previous online actions.
Return On Investment (ROI) – A metric used to compare the benefit of an investment to the cost of production.
Sales Page – Any page that instead of having an opt-in form, sells a product and often links to a shopping cart check out or something similar. We have specific templates that are crafted for this, but any of our other templates can be modified to link to a URL.
SEO – Search Engine Optimization. Allows you to optimize your page to show up higher in search rankings.
SEO tags – Page title, Description and Keywords that are used by search engines to categorize your page.
Single Opt in – Customers are added to your list immediately after they opt in.
Split Testing – Also known as A/B testing, split testing allows you to test multiple versions of a landing page.
Standard Operating Procedure (SOP) – A documented method for a routine task.
Split Test – A method of testing two variants to locate areas of improvement. Often used to improve landing page performance.
Thank You Page – After they opt in, users are sent to a "Thank You Page." While a default Thank You page is provided, you have the ability to replace it with a custom Thank You page.
Top of Funnel (TOFU) – Relates to content and offers at the "Awareness" stage of the marketing funnel.
Traction – Proof that people are actually buying and using your stuff.
Tripwire (TW) – An irresistible, super low-ticket offer (usually between $1 and $20) that is designed to convert prospects into buyers.
UF Growth Labs – Unfunnel Growth Labs. A membership program that includes a library of campaign execution plans (step-by-step marketing tactics), online marketing tools and templates, live webinars with Unfunnel staff and industry experts, and access to a private online community.
Video Sales Letter (VSL) – A promotional video that gives same information given in a traditional sales letter.
Wishlist Member (WLM) – the most popular membership platform online. Also a membership website creation, pay-per-content and content gating / protected content creation tool.
WordPress (WP) – a publishing platform for websites with a focus on aesthetics, web standards, and usability.
ZIP File – a file whose contents of one or more files are compressed for storage or transmission.
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BrightStar 's Application Maintenance Service helps clients to take a step back and look at their application portfolio from a fresh new perspective that is a blend of macro level business alignment and micro level usability and performance issues, before beginning to deliver value. BrightStar always endeavours to understand the client, their business and objectives along with the processes before we dive into the technological support to deliver results.
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We are a company and a community of passionate, purpose-led individuals. We think disruptively to deliver services and solutions to address our clients' toughest business development, financials, supply-chain and communication challenges. We are small, but we are evolving every day.
ERP is about creating managed information control, whereas the Internet of Things (IoT) is really more about trying to drink data through a fire hose; so how does one get from here-to-there without choking? Well, it ain't easy…but it can be done as long as you're willing to embrace the necessary awareness, patience and persistence required.
Consequently, and since we're always up for an editorial challenge, we decided to identify three ways that ERP operators can start incorporating near-term IoT elements in their recurrent business operations. These points are based on the technologies available today, since God only knows what is likely to show up down the road.
Radio frequency identification, or RFID, has been part of the market's technical lexicon for many years, however these send/receive systems, usually associated with product-applied firmware 'devices', or thin adhesive strips, have gotten a lot smarter. Today RFID systems are represented by hosts of sensor arrays that talk and respond within the IoT constellation in real-time; or downstream, which can be directly integrated with ERP project or product management processes.
Another IoT, ready for prime-time firmware/software system, relates to Near Field Communications (NFC) devices. In this event, these smart devices project specific data packets that, in turn, can be received by various, compliant receiving systems, such as merchant terminals. A simple example here would be waving one's smartphone over a intelligent terminal at a consumer product sales check-stand, or tracking elements across the manfacturing floor.
Once requisite data has been received and processed locally, the packet stream can be directly integrated and applied to various home or remote ERP management, production, and financial modules.
In the same way that RFID/NFC represents the combination of firmware/software processes; general inventory, warehousing; FTE time/motion; transaction, and virtually any other revenue/cost-related element, can be identified, processed and pushed along to necessary home, or remote, ERP bookkeeping/finance modules in real-time.
On the manufacturing floor, various IoT enunciators comprised of combinations of RFID/NFC, or purpose-built control elements can manage the evolution of an entire raw-materials-to-finished product chain; in addition to stability monitoring, or triggering various active-status, and functional-state processes. In turn, these active system-states can be trapped and stored for follow-on action for affiliated system actions; or they can also be logged and stored within ERP's various manufacturing modules in the event that remedial action is called for later.
Again, these are only three ways that today's IoT elements can be directly integrated with active ERP systems, but our very short list is nowhere close to being comprehensive. So, take your time, and above all, be sure that you fully understand and comprehend your own enterprise systems before you move on. Once that's done, and if you're confident enough to take a run at creating a fully-integrated ERP/IoT device matrix, there will be plenty of opportunities to choose from.
As companies become increasingly reliant on technology to improve efficiency, productivity and mobility, vulnerabilities to cyberattacks are growing. While breaches at large organizations make headlines, no organization is too small to be a valuable target, and most companies will likely suffer a cybercrime at some point. Criminals and attack methods are evolving and becoming more sophisticated, so organizations and individuals must fully understand emerging threats and proactively plan to protect themselves.
1. Cybercriminals will not just go after bits and pieces of data, as has been common practice in the past. Instead, cybercriminals will increasingly seek to build entire profiles from data collected and sell it as entire identities for monetization or for nation states to use for their targeted attacks.
This means cybercriminals are no longer going after just credit cards, health care data or even personally identifiable information (PII). They are building a complete victim profile and then selling it to the highest bidder. A complete profile could include traditional information forms (bank account data, credit card data and health information), but also social media information, past residence addresses, dependent information and more.
This threat calls for increased controls necessary to protect traditionally stolen information, as well as safeguards consumers must take to ensure they do not provide too much information through social media. It also brings into question the publication of traditional public information such as property tax, permitting and other public records.
2. The "Internet of things" is still growing as seemingly everything (vehicles, appliances, children's toys, safety systems and others) a business or consumer purchases is "Internet ready." Unfortunately, we continue to read about these systems being broken into and either remotely controlled in disturbing ways or used to gather information on businesses or families without their knowledge.
In general, most of these systems have a portal hosted by the product's manufacturer or provider, or one of their business partners, and have relatively weak authentication controls that require only a username and password. For example, the next time you see your Internet-connected intelligent thermostat adjust the temperature in your home, ask yourself if it changed the temperature because it was needed or did someone break into the portal account and now is experimenting with your thermostat?
Best practice security measures for the portals are to use similar security controls equivalent to online banking and credit card portals with multifactor authentication, forced password changes and account lockout.
3. Cybercriminals will continue to use social engineering to facilitate their system breach efforts. Postmortem breach reviews indicate that many successful breaches are dependent on attacking the organization's employees, customers or business partners through social engineering efforts.
People will likely be the weak link in security in the foreseeable future; and efforts to improve social engineering defenses must be implemented. Many organizations have security awareness programs and RSM advisors say they are slowly seeing improvement in the responses to their social engineering testing, but there is still room for improvement.
To improve security awareness, RSM advisors recommend conducting social engineering training and testing more than once a year, and then validating the effectiveness of the training through testing.
4. Health care information has more value per stolen record than most other forms of data theft (bank account, credit card, PII). Health care information is often tied to a social security number, and it is difficult to get a new number issued that does not tie back to the original number. It simply isn't as easy as getting a new credit card.
RSM advisors anticipate more breaches will occur in the health care industry in 2016, as more eligible professionals and hospitals move to electronic health record systems. As the industry continues this transition, an increase in hacking events will occur due to medical data being shared via electronic exchanges.
5. System security configuration issues continue to be a common source of security incidents and potential breaches. RSM continues to see too many weak security implementations for servers, workstations and other network devices during testing. New systems should be implemented using a National Institute of Standards and Technology (NIST) security reference or other guidelines to create a "base" image. That base image should then be used as a starting point when new systems are implemented.
a. Using default administrative credentials. Most default credentials can be Googled.
b. Improper administrator password usage. Many companies use the same local administrator password on all workstations and servers.
c. Storing passwords insecurely. While conducting security testing for clients, RSM advisors find passwords on workstation shares, in text files, work documents and file names, and written on the side of monitors and keyboards.
d. Running services on servers with administrative rights. If the service is compromised, the attacker would have administrative rights in the system.
e. Weak passwords. Too often vendors use the same credentials on all of their customer systems.
All forms of data have value to cybercriminals, and hackers are using new methods and continually attempting to access sensitive information. Ignoring, or not properly addressing, security vulnerabilities can leave companies and individuals exposed to a breach with significant financial and reputational consequences. Understanding and addressing these emerging threats is critical to protecting your information, and reducing the potential for a data breach in the coming year.


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Biden Suspends Oil Leases In Alaska's Arctic Refuge
WASHINGTON – The Biden Suspends Oil Leases and Gas in Alaska's Arctic National Animals Refuge on Tuesday, cancelling a Trump administration drilling programme and reigniting a political battle over a remote territory home to polar bears and other wildlife, as well as a large oil resource.
The directive by Interior Secretary Deb Haaland comes after President Joe Biden ordered a temporary ban on oil and gas leasing activity on his first day in office. Biden's executive order from January 20 stated that a fresh environmental evaluation was required to resolve potential legal weaknesses in a drilling programme allowed by the Trump administration under a 2017 statute passed by Congress.
Interior claimed it "discovered deficiencies in the underlying record of decision supporting the leases, including the absence of examination of a reasonable range of alternatives" needed by the National Environmental Policy Act, foundational environmental legislation, after performing a necessary assessment.
Polar bears, caribou, snowy owls, and other species, as well as migrating birds from six continents, call the 19.6 million-acre refuge home. Republicans and the oil industry have been attempting for years to drill in the oil-rich refuge, which is sacred to the Indigenous Gwich'in. Democrats, environmentalists, and certain Alaska Native communities have all attempted to stop it.
The Interior Department action was praised by environmental organisations and Democrats, but it was criticised by Alaska's all-Republican congressional delegation as stupid and unlawful.
On Jan. 6, two weeks before Biden entered office, the US Bureau of Land Management, an Interior Department department, staged a lease sale for the refuge's coastal plain. The government signed contracts for nine sites totalling approximately 685 square miles eight days later (1,770 square kilometres). However, the leases were not made public until January 19, outgoing President Donald Trump's last full day in office.
Biden has spoken out against drilling in the area, and environmentalists have pushed for permanent restrictions, something Biden advocated for during his presidential campaign.
The suspension of the leases comes after administration officials upset environmental organisations last week when they defended a Trump administration decision to permit a large oil project on Alaska's North Slope. Critics argue that the decision contradicts Biden's vows to fight climate change.
In a court filing, the Justice Department said that opponents of the Willow project in the National Petroleum Reserve-Alaska were attempting to halt construction by "cherry-picking" federal agency data to establish environmental review law breaches. The petition justifies the studies that led to the approval of project plans last October.
The suspension of the Arctic leasing programme, according to Kristen Miller, acting executive director of the Alaska Wilderness League, was the consequence of a defective legal procedure under Trump.
"Suspending these leases is a positive move, and we applaud the Biden administration for committing to a fresh programme analysis that prioritises strong research and proper tribe participation," she added.
More action is needed, according to Miller, who is pushing for the leases to be permanently cancelled and the 2017 law mandating drilling in the refuge's coastal plain to be repealed.
During Trump's first year in office, congressional Republicans passed a large tax cut that included the drilling mandate. Republicans claim it might produce $1 billion over ten years, a figure Democrats dismiss as ridiculously exaggerated.
Sen. Maria Cantwell, D-Washington, a longstanding opponent of drilling in the refuge, charged that the Trump administration was attempting to "shortcut environmental regulations."
"The initiative came apart when federal scientists started drilling in the Arctic Refuge couldn't be done properly, and oil firms didn't want to drill there," Cantwell said.
"Now it's up to Congress to ensure that this priceless, million-year-old ecosystem is permanently protected and that new economic prospects based on protecting America's pristine public lands for outdoor recreation are realised," she added.
Tribal officials are encouraged by the Biden administration's "commitment to preserving holy areas and the Gwich'in way of life," according to Bernadette Demientieff, executive director of the Gwich'in Nation Steering Committee.
"For hearing our voices and standing up for our human rights and identity," she praised Biden and Haaland.
Alaska Senators Dan Sullivan and Lisa Murkowski, as well as Rep. Don Young and Governor Mike Dunleavy, issued a joint statement criticising the Interior Department's move. They're all Republicans.
The leases sold in January, according to Dunleavy, "are legal and cannot be taken away by the federal government."
Suspending the Arctic licences "goes against the law, facts, science, and the desires of the Native communities on the North Slope," according to Sullivan, who applauded Biden last week for supporting the Willow oil project. It's nothing more than a blatantly political effort on the part of the Biden administration to appease its radical environmental supporters."
The order, according to Murkowski, was "anticipated but ridiculous nonetheless."
The secretarial order, according to Murkowski, "is in direct opposition with the 2017 Tax Cuts and Jobs Act," which "clearly specifies that the goal of the (designated) area of ANWR is oil and gas production."
"This move serves no purpose other than to stymie Alaska's economy and jeopardise our energy security," Murkowski stated.

redpajama_set_name: RedPajamaCommonCrawl


text:
Patera är ett släkte av snäckor. Patera ingår i familjen Polygyridae.

Kladogram enligt Catalogue of Life:

Källor

Externa länkar

Landlungsnäckor
Patera

redpajama_set_name: RedPajamaWikipedia


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text:
Арха́нгельское () — село в Ясиноватском районе Донецкой области Украины.

Код КОАТУУ — 1425587303. Население по переписи 2001 года составляет 285 человек. Почтовый индекс — 86020. Телефонный код — 6236.

Известные люди
 В селе родились кавалер ордена Славы трёх степеней Порфирий Иванович Чуйко (1923—1992) и Дмитрий Васильевич Чалый (1904—1985), украинский советский литературовед.

Адрес местного совета
86020, Донецкая область, Ясиноватский р-н, с.Соловьёво, ул.Чкалова, 10

Примечания

Ссылки
 Архангельское на сайте Верховной рады Украины

Населённые пункты Ясиноватского района


* For English ticketing assistance, email us at highjinkxx@gmail.com or send us a Facebook message.
wet+er, 직역하여 '적시는 사람'. 록 페스티벌에서 땀에 젖도록 공연을 즐기던 관객들을 보며 지은 밴 드명이다. 보컬(최원빈), 기타(채지호), 베이스(정지훈), 드럼(허진혁)으로 구성된 4 인조 록밴드로 2016 년 11 월 싱글 [Who]로 데뷔했다.
Now?]를 연이어 발매하며 음악뿐만 아니라 영상, 포토 등 아트웍적인 면에서도 기존에 없던 웨터만의 색으로 주목 받고 있다.
Wetter is a four-member rock band consisting of vocals (Choi Won Bin), guitar (Chae Ji Ho), bass (Jung Hoon) and drum (HJ Jin) that literally aims to make people wetter by working them into a sweaty mess with their high octane rock n roll live show.
The band released their debut single [Who] in November 2016 and immediately captured the attention of fans and critics alike. Since then the band have been incredibly active releasing their first EP [Romance In A Weird World], a string of singles and a follow up EP called [We've Lost, What Now?]. The band have been attracting attention, not only for their unique music and high energy shows but also for their artistic photos and music videos.
Following the success of their EPs and Singles the band appeared at many of Korea's premier music festivals including, Jisan Valley Rock Festival, Grand Mint Festival and Pentaport Rock Festival.
2017년 말 결성한 WOOZE는 영국 브릭스턴의 '머디 야드 컬렉티브' 출신 팀이다. 한국인 테오 스파크와 영국인 제이미 씨로 이뤄진 이들은 영국의 버려진 상가 건물을 합주실로 바꿔 2개의 싱글을 만들어냈다. 데뷔 싱글은 'Hello Can You Go' (2018년 5월 31일 발매, 'Young Poet Records')이며, 곧이어 두 번째 싱글 'Party Without Ya'(2018년 9월 9일, 'Young Poet Records' , 한국 인디 레이블 'BEELINE RECORDS' 협력)가 모습을 보인다.
팀 이름 WOOZE는 한국 단어 '우주'를 음성적으로 대략 변형시켜 만들었다. WOOZE 전곡 가사에는 관통하는 한 주제가 있다. 카오스에 기반을 두고 기억 상실, 정체성 위기, 공간적 혼동, 인격의 분리, 궁극적이고 근본적으로 분리된 느낌들을 그려낸다.
곡은 우리에게 굉장히 익숙한 장면을 들여다보게 하지만, 마치 바라보는 렌즈에 무언가 얇은 이물질이 발라져 있는 것처럼 어떤 일이 누구에게 벌어질지 정확하게 알 방법이 없다.
WOOZE는 스스로 '21세기 판소리'를 하는 팀이라 묘사한다. 판소리처럼 하나의 큰 네러티브로 모아지는 이야기들을 만들어내고 있기 때문이다. 우주의 목표는 당신을 들뜨고 정신없고 신나게 만드는 것이다.
앞선 싱글 'Hello Can You Go'와 'Party Without Ya' & 'Ladies Who Lunch With Me'는 흥미로운 예고편일 뿐이다. 이들은 이미 영국의 BBC Radio 1와 Radio X, 호주의 Triple J, 잡지 'The Line of Best Fit'과 'Clash' 등에서 소개된 유망한 신예다. 앞으로 더욱 거대한 공간감으로 다가올 WOOZE를 기대하시라.
Formed in late 2017, out of the Brixton based Muddy Yard Collective, WOOZE are the Korean / British duo of Theo Spark and Jamie She. Working from the studio they converted in a disused builder's depot, to date the duo have released two singles. Their debut single 'Hello Can You Go' was released May 31st 2018 (by london based label Young Poet Records) and the duo's follow up single 'Party Without Ya' was released on Sept 9th 2018 (again by Young Poet Records, but this time in partnership with Korean indie label BEELINE RECORDS).
WOOZE is a rough phonetic translation of 'space' in korean (우주) and the central theme behind all of WOOZE's lyrics are rooted within the uprooted - memory loss, identity crises, spatial confusion, split personalities, and ultimately, a fundamental feeling of detachment and estrangement.
Every song is a vignette of well trodden social situations with vaseline smeared over the lens so you can't quite figure out exactly when it's happening or who it's happening with.
Describing themselves as Pansori for the 21st Century (a traditional Korean music genre that consists of a drummer and singer storytelling through music), WOOZE are here excite, baffle and entertain.
Current singles 'Hello Can You Go' & 'Party Without Ya' & 'Ladies Who Lunch With Me' are only a taste of what is to come from this intriguing two piece. The much hyped duo have already seen support flooding in from BBC Radio 1, Radio X, Triple J, The Line of Best Fit and Clash to name a few.


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Q: Lua: What is typical approach for using calculated values in a for loop? What is the typical approach in LUA (before the introduction of integers in 5.3) for dealing with calculated range values in for loops? Mathematical calculations on the start and end values in a numerical for loop put the code at risk of bugs, possibly nasty latent ones as this will only occur on certain values and/or with changes to calculation ordering. Here's a concocted example of a loop not producing the desire output:
a={"a","b","c","d","e"}
maybethree = 3
maybethree = maybethree / 94
maybethree = maybethree * 94
for i = 1,maybethree do print(a[i]) end

This produces the unforuntate output of two items rather than the desired three (tested on 5.1.4 on 64bit x86):
a
b

Programmers unfamiliar with this territory might be further confused by print() output as that prints 3!
The application of a rounding function to the nearest whole number could work here. I understand the approximatation with FP and why this fails, I'm interested in what the typical style/solution is for this in LUA.
Related questions:

*

*Lua for loop does not do all iterations

*Lua: converting from float to int

A: The solution is to avoid this reliance on floating-point math where floating-point precision may become an issue. Or, more realistically, just be aware of when you are using FP and be mindul of the precision issue. This isn't a Lua problem that requires a Lua-specific solution.
maybethree is a misnomer: it is never three. Your code above is deterministic. It will always print just a and b. Since the maybethree variable is less than three, of course the for loop would not execute 3 times.
The print function is also behaving as defined/expected. Use string.format to show thr FP number in all its glory:
print(string.format("%1.16f", maybethree)) -- 2.9999999999999996

Still need to use calculated values to control your for loop? Then you already mentioned the answer: implement a rounding function.

redpajama_set_name: RedPajamaStackExchange


The difficulty of writing a novel means there are a lot of rotten novels out there, published or not. But sometimes writing is bad in a grand, towering way; sometimes the badness of a novel is so overwhelming that it warrants recording and remembering. Such is the case with Sean Penn and Amanda McKittrick Ros, whose bad novels have a great deal in common.
At a glance, the two authors have little to do with each other. Ros was an Irish teacher born in 1860 who lived a mostly quiet life and died in 1939; Penn is an American actor born in 1960 who has lived a flamboyant, well-recorded life since the early 1980s. Ros self-published her first book, Irene Iddesleigh, a slight novel of Victorian-style romantic fiction, while Penn's first novel, Bob Honey Who Just Do Stuff, which strains to be political satire, was published by an imprint of Simon & Schuster with wide availability. Although these writers are a century apart and completely different on the surface, their work bears astonishing similarities, from the way each author assembles sentences to the bombastic, preposterous ego hovering without sufficient disguise behind the work.
Both books are bad, but "bad" does not suffice. A little word of three letters does not plumb the depth of these books' failures. The critic Barry Pain wrote that Iddesleigh "is a thing that happens once in a million years. There is no one above it and no one beside it, and it sits alone as the nightingale sings." The critic Claire Fallon called Bob Honey "akin to the product of a postmodern literature bot. It doesn't seem quite possible that a human person wrote this mess." Ros's prose is so bad that little societies formed around her in the early 20th century, reading her work aloud as a contest to see how long one could keep from laughing. Penn's prose is so bad that pictures of his sentences have been shared around social media for ridicule.
1. Sentences, generally. Both Penn and Ros write terrible sentences. Both fall victim to the agony of overwriting, using phrases of unnecessary complexity; Penn writes that music "attenuates in amplitude" (i.e. gets louder) and that Bob desires to "recommit to the seeking of social connectivity" (i.e. make friends). In Ros, Lord Gifford "sat burying in the silver receptacle that lay by his side the deadened ashes of feathery manufacture produced by the action of his thin lips" (i.e. put out his cigar). Their sentences wind around the reader like boa constrictors, misusing vocabulary and syntax freely.
2. Absurd alliteration. What is it about continuous alliteration that makes bad writers revel, and that makes experienced readers cringe and cry out in pain? Penn and Ros both use handfuls of two-dollar words in long runs of purposeless alliteration.
3. Poetic rhythms. Ros wrote two volumes of poetry, Poems of Puncture and Fumes of Formation (alliteration was her lifestyle choice). Penn incorporates poetry into his novel to no real advantage. They favor similar rhythms.
or die there on his own?
or simply left to rot?
(The men upon the brink).
But inside the room, the television is on. A Duck Dynasty star speaks conventionally for the artist of con. Pundits report their version, already inured to the preposterous perversion. A singularly immoral inversion.
Dollars dispersed with impunity to contracting companies operating without elected oversight. Their employees, often good eggs doing the dangerous and difficult work, and just as often, assholes in need of attitude adjustments. A grab bag of seasoned former soldiers, security specialists, and small-town truck drivers toiling for tax-free tender, with government gifting grandly to these corporate gunslingers, be they of guts or greed.
Which grows more honeycombed each day.
See how the rats have scratched his face?
Assist them in their eager 'bent'.
5. Outlandish ego. Here things get interesting.
Of course Penn has a big ego; he's a rich, famous, Oscar-winning celebrity who's had rapturous praise thrown at him from all quarters for decades. And that ego bursts out of Bob Honey, both in the content of the novel (Bob Honey never doubts the rightness of his own behavior, even when that behavior entails murdering senior citizens with a mallet) and in the novel's very existence. Penn evidently did not doubt that he could write a novel and it would be good. He, totally untrained as a writer, elected to write in potentially the most difficult genre to get right (satire), to imitate writers whose work stands alone in quality among many inferior attempts at its characteristics (Thomas Pynchon, mainly, but also Charles Bukowski), to write prose that individually offends an astounding array of people (women, people of color, Jewish people, military, anti-military, elderly people, non-Californians, non-Americans, dog lovers, Katrina survivors, just…anyone you can think of who isn't a middle-aged white man).
With such hubris, it is no wonder his book is an artistic failure. But at no point did he appear to examine any of the presumptions behind this effort, to think that perhaps writing a novel isn't as easy as putting words on paper for 150 pages. At no point did he think to himself, hey, maybe a person literally rowing through the immediate aftermath of Hurricane Katrina, observing floating bodies and houses on fire, should not be feeling "a cathartic sense of momentarily connected bliss; the kind he might, in a pinch, one day pick from his back pocket, were he ever in the greater Gulf Coast area again, and in need of sensory soothing." Maybe writing that is not such a hot idea? No. Never. Penn can do anything; everything Penn does is worthwhile. That is the assumption underlying the awful reality of Bob Honey.
Surely there must be something strangely great about my Works when they create such a furore amongst the World's noblest and best down to the "Hogwashing Hooligans" whose sole foundation is based upon spleen. I pity such poor apes.
This superiority complex bleeds through her novels. She looks down her nose at drinkers, Catholics, women, lawyers, anyone who is not a member of the peerage, and "that class who subsist on the prostitute penny" (i.e. prostitutes). Most chapters of Irene Iddesleigh begin with a paragraph of condescending purple prose meant to teach some kind of life lesson: Be grateful for blessings, beware of ambition, "Torture trifleth not." The prose in these paragraphs operates in the mood of a hard-won, Melvillian revelation, even if the point is contradictory or incredibly obvious. What a boon to the sad, sorry human race that we have this countrywoman from Ireland to teach us such things. "I expect I will be talked about at the end of 1000 years," she wrote. A thousand years! Even the major romantic novels of Ros's time are hardly read after only a hundred and fifty.
A similarity less obvious, but perhaps most instructive, is the sheer boredom in the subtext of both writers' works. Ros could not have been satisfied with her life; she exaggerated its circumstances at every opportunity. Her books are (intended to be) breathless romances, where stakes are high and life is short. The opposite was true in her life, as she lived to 80, and her grand fantasies remained in her head and on the page. Penn's book touches on some of the major political disasters of the recent past: Baghdad in 2003, New Orleans in 2005, Benghazi in 2012. It is jammed with pointless military jargon, often footnoted patronizingly, as well as large, unlikely accidents (a helicopter falls into a house for no reason). Through all this, Bob Honey's life is practically static, and his motivations never emerge. Penn, too, must have a great deal of time to sit in his home and do nothing, now that he has purportedly retired from acting. Unlike his character, Penn has not been a propulsive actor in any world events; he has played roles around them, often very well, but that is all one can say of his life.
It's as if Penn is writing the boy version of Ros's fantasies. His take place in the political realm, while Ros's take place in the domestic. But both write of inflated lives from a perspective of no real consequence. Both possess the time and the ego to try at writing, fail at it, and move forward as if they have succeeded. It's appropriate, then, that aside from the century that divides them, the major disparity between Penn and Ros is power. Penn's power as a male celebrity propelled his book into print, granted him reviews from major publications, and landed him a blurb from no less than Salman Rushdie. So of course, he writes about power, about the political landscape. Ros, who had virtually no power at all in her lifetime, writes about marriage and manor-house intrigue, and her book's initial publication was her husband's gift to her—she could not even propel herself into print.
Perhaps this is why Penn's book is so unpleasant to read, while Ros's book delights. The two writers' sentences are equally risible, and their pugnaciousness is equivalent, but Penn rages at a world that has given him so much, while Ros sniffs at that world primly after being denied its pleasures. Penn's book would be repellent if it were not so stupid, while Ros's books would be stupid if they were not so funny.
The uncanny similarity between the sentences and tendencies of each writer cannot be explained by simple incompetence, because incompetent writing does not always sound and feel like this. Although their similarity is amusing, it's the distinctions between the writers that may reveal something significant about what happens when bad writing transcends obscurity. The difference may be the century that separates Sean Penn and Amanda McKittrick Ros, but it may also be gender, or power—or some significant mixture of the two.
Ros wrote three novels: Irene Iddesleigh, Delina Delaney, and Helen Huddleson. The first is available on Project Gutenberg, while the other two are more difficult to find. Thine in Storm and Calm, a short compendium edited by Frank Ormsby of Ros's prose, poetry, and correspondence, as well as other treats, is highly recommended, if you can find it. A charming biography of Ros, O Rare Amanda! by Jack Loudan, has been out of print for some years, but may be available in libraries and sometimes at AbeBooks.
Penn has threatened to write more novels. Let us hope he does not.
Related: Millions Original Epic Fail by Mark O'Connell about Ros and many other purveyors of bad art.
Just a few years after ebooks and ereaders first emerged as futuristic curiosity, they are fully mainstream now. Even among the avid, book-worshiping, old-school readers that frequent The Millions, ebooks are very popular.
The volume in ebook sales seems to be driven in part by promotional pricing that will see prices on books (usually backlist, but not always) drop below $3.00 for days or weeks at a time. Followers of our Twitter feed know that we are adept at finding these deals, usually posting about two a day. Many a great book has been snagged this way, and if you are reading more on a device, we highly recommend you follow us on Twitter and look out for these posts as they are a great way to build a deep digital library. We also occasionally post them on Facebook.
For all those readers unwrapping shiny new devices (or looking for new titles to add to an old one), here are some more links to get you going.
Here are some of the most popular ebooks purchased by Millions readers in 2017 (which you'll see are very similar to our Hall of Fame and most recent top-ten which take into account books in all formats). Unlike in prior years, where ebooks seemed to hover around the magic number of $9.99, our list below shows that many top sellers are going for higher prices (all prices as of this writing). Occasional promotional pricing, a frequent occurrence in the Kindle store, may have driven some of these sales as well, however.
And in this fractured ebook landscape, you've also got your NookBooks, Google ebooks, Apple ibooks, and IndieBound/Kobo that lets you buy ebooks from your favorite indie bookstore. Finally, don't forget Project Gutenberg, the original purveyor of free ebooks (mostly out-of-copyright classics), and check your local library! Many will allow you to download lots of ebooks for free.
We wouldn't dream of abandoning our vast semi–annual Most Anticipated Book Previews, but we thought a monthly reminder would be helpful (and give us a chance to note titles we missed the first time around). Here's what we're looking out for this month. For more February titles — and there are a ton — check out the Great First-Half 2017 Preview.
Just a few years after ebooks and ereaders first emerged as futuristic curiosity, they are fully mainstream now. Even among the avid, book-worshiping, old-school readers that frequent The Millions, ebooks are very popular. Looking at the statistics that Amazon provides us, 57% of all the books bought by Millions readers at Amazon after clicking on our links this year were Kindle ebooks. This is up from 48% two years ago and up from 25% five years ago.
Here are some of the most popular ebooks purchased by Millions readers in 2016 (which you'll see are very similar to our Hall of Fame and most recent top-ten which take into account books in all formats). Publishers appear to still be having luck pricing ebooks pricing near the magic $9.99 number that has been a focus for many in the industry (all prices as of this writing). Occasional promotional pricing, a frequent occurrence in the Kindle store, has likely driven some of these sales as well.
And in this fractured ebook landscape, you've also got your NookBooks, Google ebooks, Apple ibooks, and the IndieBound ereader app that lets you buy ebooks from your favorite indie bookstore. Finally, don't forget Project Gutenberg, the original purveyor of free ebooks (mostly out-of-copyright classics), and check your local library! Many will allow you to download lots of ebooks for free.


25 spare backs for our great snap-on name tags that are personalised tags etched with your name and can be removed and reused. The backs cannot be reused as these form the fastening device and will no longer be secure after the removal process. The spare backs come on locator strips that fit Great for care homes or boarding schools.
These are the spare backs for the snappy tags once you have used them once and removed them and need a new fixing to attach the etched tags. Snappy Tags are supplied already laser-etched with your chosen name then simply apply a tag to clothing with a single click of the applicator, then move on to your next item. No screw mechanism and no fuss. Guaranteed not to fade or wash off. Easy to apply and great for schools and care homes. Please note you will require an Applicator to apply your tags.
1. Place the strip containing the Snappy Backs in the bottom of the applicator and push until it clicks. Pop the etched Tag into the top of the applicator. 2. Insert the garment into the mouth of the applicator and press together until you hear it click. Open the applicator and the Tag is applied to the garment. 3. To apply the next Tag - pull the Snappy Back strip until it has clicked into place. 4. To reuse the Tag simply remove the Tag using the applicator removal section and re-apply to a new garment using a new Snappy Back. Discard the used Snappy Back.
Easy refill of snappy backs.


She relished the moments when the two of them laughed so hard they couldn't speak, nay, couldn't breathe. (This could go on for what seemed an eternity.) So deep a bond existed between them, that a mere wisp of a notion scarcely articulated got them going. Call it a tacit understanding of an idea's hilarity—for all its tragic hopelessness, or simply its absurdity—an understanding that transcended the miles that separated them, sailing through the ether and arriving on a glass screen or at the end of a phone line. It was always irreverent (there was the delicious satisfaction in it), these little comedic blips, always impulsive, never wrought or contrived or unnatural. Just pure empathic fun. That child's laughter had been infectious from its first utterance, a thing his teachers, caregivers, therapists—even perfect strangers noticed. It could change the energy in a room, lighten the mood of the downtrodden. This powerful thing made her wary of people in her life who did not possess it. Beware the Humorless Person: it was a perfect ethos, a manifesto she understood and could and live by. Oh, if only she could bottle that joie de vivre and then uncap it for herself—or even for the boy himself on his darkest days. If only she could occupy the same space with him right this instant, if only.
A lovely description of true love!


No one is going to ever tell you, "I landed on your site or I saw you logo and I just had to buy your product." "Your logo did it for me ... I looked all over the web until I found you logo, and then I was sold ... I knew I simply could not live without your product or service".


Has anyone tested the tile modes yet? How do they work, do they support scrolling at all? Are they fast?
I'm interested too. Is it tile only mode? Can you paint over? Multilayer with transparency?
I'd also like some more information about the tiled mode.
I have an RPG idea that I'd really like to do, but haven't got round to finding out how the tile modes work.


It's nice to be surrounded by beautiful things, but it's even better if those beautiful things don't cost a fortune. We scoured Amazon for the most stylish items you can buy that also won't break the bank. At these prices, you can probably snag more than one!
This faux grass pen holder is a perfect way to bring a little life to your desk without having to worry about watering it. It holds all manner of writing utensils and will probably make you smile every time you use it.
Every kitchen should have a pop of red somewhere in it. If that pop of red also makes coffee for you, all the better! This percolator makes 6 espresso cups' worth.
Everybody makes mistakes. When you do, it's best if you can cover them up with the help of an adorable bird that dispenses correction tape. This would look adorable on just about any desk in the world, no?
And speaking of adorable, how about this kitty nightlight?! Tap the silicone surface to switch between seven different colors. This would be perfect in a nursery!
Need to prop up some books? These bookends will do the heavy lifting for you. They have a gorgeous design that will make even the most casual reader look like a certified bibliophile.
Twisty unicorn handles and rainbow bristles?! Yes, please! A set of 10 brushes can be yours for less than 10 bucks.
Place this bamboo stand (pots included!) in your kitchen and use one of the shelves to prop up your phone while you're following a recipe!
Whether you're looking for bridesmaids gifts, a Mother's Day gift, or just want one for yourself, this bracelet is super lovely and would look at home next to even your fanciest jewelry. And in case you are gifting it to someone, it arrives prepackaged in a gift box!
Even tap water probably tastes magical when you're drinking it out of a rainbow glass. This listing is for a set of two tumblers.
Having a lot of work to do can sometimes be a bit of a drag, but if you can cross those tasks off on a list that looks as classy as this one, that's definitely a step up. This pad includes 75 sheets — you can get a lot done with that!
It has a built-in rechargeable battery, meaning you can put it on display without having to worry about any unsightly cords. There are two different levels of light you can switch between depending on your mood and the occasion.
We love a good rose gold nail polish, and if includes sparkles, that's even better. This nail polish is long-lasting, fast-drying, and cruelty-free, so there's clearly a lot going for it.
It's solar powered and can last up to six hours on a single charge. It glows in eight different hues and also has a color-cycling mode if you can't make up your mind. Having a few of these floating in your pool is a surefire way to take your pool party to the next level.
Waking up with the alarm clock app on your phone is convenient, but it could mean that the very first thing you do every day is to scroll through your Instagram feed. Put an end to that by opting for an actual alarm clock like this one. It doesn't tick so it won't bother even the lightest sleeper.
It has a powerful magnet embedded in it that can hold up to three heavy keychains. You can also put your phone on top of the shelf if you'd like.
Once again, we love seeing that rose gold! The bristles on this brush are extra soft. It also comes with a convenient protective cover.
They're ideal for succulents, cacti, or air plants. Also, they have cork padding on the bottom so they won't scratch up whatever surface you place them on.
Its double-wall design will keep your cold beverages cold and your hot beverages hot. It's also totally leak-proof so you won't have to worry about it spilling in your bag.
In daylight mode, it's the perfect reading lamp with six cool white LED bulbs. In moonlight mode, it switches to a gentle, ambient light from six warm white LED bulbs. It's battery powered so you can bring it wherever you most need it, regardless of outlet location.
This listing is for a set of five decoration matchboxes, each decorated to look like a book that has been banned and containing 20 matches. Purchase of this tiny box set helps send books to a community in need!
The carafe itself is made of glass, while the lid is made of stainless steel and silicone rubber. It can be used for just about any cold beverage, as well as for decanting and serving wine.
Its matte brass finish will make your jewelry look way better than it does shoved into a random bathroom drawer. Now you can enjoy looking at your favorite earrings even when you're not wearing them.
It's made of white stoneware and comes with a stainless cord for easy hanging. You could also use it as a tealight candle holder!
Keep soft, spreadable butter on your counter at all times, with no fears of it going rancid! Simply place the butter in the bell-shaped lid and add about an inch of cold water to the crock. The water forms an airtight seal against the butter, and your butter is good to go whenever you need it.
It also comes with six coordinating ribbon bookmarks, which is quite the luxury. We can easily imagine this journal looking classy on a nightstand.
Refrigerate or freeze it to decrease puffiness around your eyes, or put it in the microwave to soothe headaches, sinus pressure, or allergy congestion. The gel beads make it so the mask conforms to your face exactly.
The ceramic mug includes a lid and a little infuser basket. When you're done steeping your tea, the lid can be flipped over and used as a tiny coaster for the basket.
It's small enough that you can take it with you wherever you go — even in the car! It plugs into any USB power source and includes a water cup for added stability.
Even though they're very thin and soft, people who use Turkish towels swear they're just as absorbent as their terrycloth counterparts. These ones come in several different colors to match any bathroom decor.
And it's less than $10! Place it over a tissue box and pull the tissues out of the chimney. It's whimsical and wonderful and everyone should have one.
This pair of ceramic planters is the perfect size for holding succulents, cacti, or herbs. And a pair of them costs less than $10!
Finally! A solution to earbud cords always tangling themselves up in knots! Just wrap the cord around this handy leather organizer and pop the entire thing in your pocket.
Why use regular old sand in an hourglass when magnetic sand is an option? As the sand drips from the top bell onto a hidden magnet in the hourglass base, it forms beautiful magnetic stalagmites.
Everyone Loves Getting Mail. Especially If It Has a Fancy Wax Seal!
Haven't you always wanted to send a letter with a fancy wax seal? Now you can! This beautifully detailed bee design stamp costs under $15!
Simply take notes in your Rocketbook Wave and snap a picture using the app. Your notes are instantly uploaded to your favorite cloud service so you have access to them no matter where you are. Once the notebook is filled with all of your brilliant notes (and they're all in the cloud), you can pop the whole thing in the microwave to clear the pages and start all over again. Yes, you read that right.
These mugs have built-in indents for your hand, making it easy to cozy up on the couch with your coffee (or hot chocolate!) in one hand and a good book in the other. Also available in left-handed designs!


Satellite data shows that the temperatures were nearly identical to 1998. Hottest year ever is just another fake news story.
It is a Fact that the DNC committed voter suppression in order to oust Bernie Sanders but completely ignore that fact by switching the blame to the Russians for leaking the truth about Democrat election corruption and fraud.
So that makes this conspiracy true? What is your point? By pointing out other false conspiracies only proves that this is just another false conspiracy.
I don't even think he numbered his rules, do you always just make stuff up?
Do you now how to count?
This idea isn't that Trump would orchestrate an attack.
By stating that Trump has ties to Russian intelligence makes an attack plausible does indeed imply that Trump would be directly involved. Again, these types of implications are texts book Saul Alinsky rules for radicals.
This is nothing but a faulty generalization based on anecdotal evidence. The faulty logic of this article: Putin is a bad guy, Trump and Tillerson have done business with Russia, Therefore there will be a terrorist attack in the US orchestrated by Trump. Saul Alinsky would be proud of you, this piece fits right into his rules for radicals #5,8,9 and 11.
I see that Trump has already put you back to work.
Actually you are wrong, what you pointed out was going against the general scientific census that the earth was flat and those that went against this census was ostracized just like the scientist of today.
Galileo waged war on science as well going against the scientific census that the earth was flat.


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Feminism Defunked: Emma Watson in Beauty & the Beast
– February 23, 2017Posted in: Culture
Live-action remake Beauty and the Beast, due out next month (in case you missed that), is on a rant. Belle, played by Emma Watson, has been given a makeover; not only is she a pretty girl who likes books (Disney made this OK in the nineties – thanks Disney) – no, this Belle has a backstory that makes her more than not-really-a-merchant's-daughter-but-the-offspring-of-a-king-and-a-good-fairy as in Gabrielle-Suzanne Barbot de Villeneuve's original 18th century version. This Belle invents stuff. She also has a new dress and lower heels. Look out patriarchy! But is Hermoine's feminist fairytale all that? It is, after all a fairytale, with a protagonist called Beauty.
Not to hate on fairytales or anything – they weren't always all about pretty princesses and primo princes. Before Perrault, the Grimms and other re-tellers changed the stories to make the lessons more palatable for their respective audiences, they were intimate tales told by communities in villages, around fires; as explanations and metaphors for life and living. In the oral version of Little Red Riding Hood, for example; a werewolf kills grans-wans, whose blood and flesh are later consumed by L'il Red before she throws her clothes into the fire – all of them – because they are no longer useful to her. Big bad werewolf calls our red-cloaked cannibal a slut and asks her to get into bed with him. Li'l Red, using her wit, escapes the he-wolf; telling him she needs to pee, he allows her out but restrains her with a thread to the ankle, which she ties to a tree and bolts like Usain. It's a coming of age tale – the wisdom of her elder passed down to L'il Red through the symbolic consumption of the matriarch. The girl removes her clothes, emerging from girlhood into womanhood. A far cry from the Little Red Riding Hood who called the huntsman for help.
The oral version of our favourite cloaked kid does, however, make a comeback in Angela Carter's A Company of Wolves (1979), where Li'l Red and her werewolf live a symbiotic relationship of subservience and sovereignty – dare we say "gender equality"? A couple of years later, Roald Dahl turned L'il Red into a gun-wielding wolf-killer; a hyperbolic salute to female empowerment. If fairytales are a reflection the society in which they are told, as literary history suggests, what dirt does 2017's Beauty and the Beast have to dish? No longer impeded by the corset of her 1740 publication, will Beauty be liberated from the shackles of gender stereotype in a tale of transformation? Whilst 'remake' might suggest 'duplicate', with a real life feminist on board, change must be inevitable…come on! – The possibilities are endless. Except they're also not. Because "Somewhere along the way toward female liberation, it was decided that the most effective method was for feminism to become universal…that for something to be universally accepted, it must become as banal, as non-threatening and ineffective as possible," writes American, writer, editor and critic Jessa Crispin, in her new book Why I am Not a Feminist. As banal, as non-threatening and ineffective as…a fairytale princess, perhaps? Sure, Watson has the clout of fame to help smash her point across but, in this case, it comes in the guise of happily ever after, which is as far from the feminist story as it can get. Women haven't yet won the day, have they?
Feminism has become an aesthetic; in a sort of 'girl power' is cool, I-do-what-I-want kinda way. It's great that we can get jobs, wear pants and have hairy armpits – or none of the above – if we so choose (even with a little judgement on the side). But feminism is not a free for all. It's more than doing what you want because often, what you want comes at the expense of other women. Feminism is about women's rights as much as a woman's right. Crispin writes, "Once we are a part of the system and benefiting from it on the same level that men are, we won't care, as a group, about whose turn it is to get hurt." Feminism is much more than doing what you want, wearing what you want and looking how you want. Freedom – yes. Equality – of course. But also community, attitude and progression, all of which are in a state of stagnation. Trump is president after all, right?
Crispin argues that the decline of feminism is apparent in how easy the label is to claim. The fact that popular culture is full of celebrities who identify themselves as feminists has pushed it into the mainstream; marketing it as an ideological puff-piece, transforming feminism into merchandise. Anyone seen BiebSon – the doll version of Beauty and the Beast's Belle, which looks more like Justin Bieber than Emma Watson. Not even the profiteers can get it right! Talk about lost in translation. A 'feminist' princess masquerading as a man – such awful irony; it's an ode to feminism defunked. If Beauty and the Beast says anything, upon first glance it says this: that lots has changed since Villeneuve wrote her story almost 300 years ago but not enough. Women do have license to invent things these days but are there enough of us doing it?
Feminism is not marketable, cordial or self-centered. It's about you but it's also not about you – it's about everyone and everything. It's about action as much as perception, ethics and ideals. It's about the system. And the system is not right. Emma Watson might be depositing Maya Angelou books all over the tube but unless her embodiment of fairytale's Beauty is something that screams – not whispers; "the world is not right for women", she runs the risk of the banality. Crispin challenges us to think big; to go where we dream. To fight. As much as Angela Carter used fairytale genre to reflect the gender relationships of the time, she created a feminist utopia; something for which to yearn, strive and act. That's where we want to be; where we need to be. This is not the time to be iffy.
Photo credit: Red Riding Hood by Friendbeast @ Deviantartcom.
Sources: "THE CASE AGAINST CONTEMPORARY FEMINISM" by Jia Tolentina, The New Yorker and "Why I Am Not a Feminist: A Feminist Manifesto by Jessa Crispin review – it's time to get radical" by Suzanne Moore, Theguardian.
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Tags: Angela Carter, Beauty and the Beast, Belle, Emma Watson, Emma Watson and feminism, Jessa Crispin, Justin Bieber, The Company of Wolves, beauty, disney, feminism
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Home Advertising The future of native advertising [part four]
The future of native advertising [part four]
Posted By: Chialun Huangon: November 26, 2015 In: Advertising
Publishers have a distinct advantage over other content providers or marketing agencies in that they "own" their audience. However, this can also be a weakness, as most brands want their content to reach a certain threshold of impressions, counted when a web page is shown to a visitor. Technology to improve the challenge of scale is on the rise but certain publishers are resisting the change, worrying that it might turn native advertising into the next banner ads.
This is the final article of a four-part series on native advertising. Previous posts on the WAN-IFRA blog site include:
Part 1: "Native advertising grows up"
Part 2: "Publishers become content creators"
Part 3: "How ethical is native advertising?"
In general, brands approach advertising agencies to create content, which is then distributed through the media networks of thousands of publications via advertising space. As publishers begin creating customised native advertising for brands, the content created usually just stays within their own publications.
"It is always a challenge for any of these studios to get someone to come back and want to do it again, repeat advertising," said Kaylee King-Balentine, head of The New York Times' T Brand Studio in London. "We have to get it right the first time."
While content is crucial, the questions of scale and impact also hugely influence whether brands will continue to invest in native advertising.
Scale is a challenge
"The problem brands have with premium publishers is that the scale is often not large enough for them to justify the investment," said Seraj Bharwani of Visible Measures. "If you spend $1 million and the publishers provide 100,000 impressions, it's not enough, they need greater scale."
Many technology start-ups have jumped in to help. Created in 2007, Sharethrough is one of the earliest companies to create a platform solution for publishers to distribute their content. In fact, its founder Dan Greenberg has often been credited with coming up with and popularising the term native advertising.
Compared with the top most read online publication MailOnline, which reached a 100.5 million visitors on all platforms according to comScore, Sharethrough has a database of more than 400 publishers with a combined reach of 270 million global uniques across over 3 billion monthly impressions. The company is targeting an annual revenue of $100 million this year.
In September this year, Sharethrough announced a deal with AppNexus, one of the biggest technology companies providing online ad selling which handled $2 billion in ad spending last year. The partnership will allow real-time bidding and programmatic selling of native advertising.
This means that content created by a publisher for a brand can instantly be distributed across the web. It also means smaller publications that do not have the content creation capability can sell native advertising space and fill it with branded content created by other publishers or brands themselves.
"The same technology that powers banner ads, the targeting technology, it is shifting to native advertising," said Tom Channick, former head of communications at Sharethrough, who recently moved to his new role as corporate communication manager at Facebook.
To ensure that only the best content is distributed, Sharethrough only works with premium brands and has a content score built into its system that takes into account different levels of engagement.
Most of the native advertising distribution platforms also pay particular attention to user experience and special care is taken to ensure that native advertising would appear in matching format on different publication websites.
Another startup with 400 publishers on its client list and $20 million in new funding is Nativo. It has a contextual matching tool which matches native advertising to the particular site and section. It also provides review mechanisms for publishers and automatically removes a piece of native advertising if no engagement is detected.
Recognising the need for scale, The Guardian recently announced an advertising programmatic alliance called Pangaea with four other publishers: CNN, The Economist, Financial Times and Reuters. By combining their readership reach and providing access to advertising inventory, they will collectively be able to charge a higher price for their advertising offering. The Guardian is also looking for further partnerships.
It has just hired David Gehring, a former Google executive, as its vice president of partnership based in San Francisco whose responsibility is to build and deepen relationship with leading edge technology companies based in Silicon Valley and beyond.
Not another banner ad
However, while automating native advertising like banner ads makes it more efficient and scalable, there is a fear that quality will suffer and that native advertising might degenerate into another banner ad.
Given the concern, some digital native publishers who depend almost exclusively on native advertising as a source of income such as Refinery29, Vice, Vox, BuzzFeed and Mic aresaying no to engaging programmatic native advertising, fearing that it will disrupt user experience and overrun their sites with tracking mechanism as in the case in banner advertising.
"What's happening is that anyone that used to do banners will try to go native," said Justin Choi, founder of Nativo. "Publishers have to be careful in choosing what they put on their site, in order to survive long term, they have to provide a good user experience."
Contently, a content production company, echoed the same worry. "If we do native wrong, if it ends up programmatic, we will have native ad blocking very soon," said Sam Slaughter, Vice President of Contently.
In fact, some native advertising headlines and texts have already been blocked though no publication has reported visible impact.
As traditional print revenue continues to fall and digital display ads are blocked, the trend of publishers offering native advertising will continue, whether it is adopting a Forbes model of renting out space or offering a range of content creation services like The New York Times or going the full length of creating a full service marketing agency like The Guardian.
With increasing demands from marketers and brands, we might be seeing more publishers opening up their editorial space to native content as in the case of Forbes, trying their hands at content creation like The New York Times and bigger publications moving towards The Guardianmodel.
The New York Times has recently announced a new role for its deputy editorial editor, Trish Hall, who will "analyse articles and projects that are in the works and might lend themselves to sponsorship," and its new strategy clearly states that it will be "expanding T Brand Studio into an agency in its own right, providing a broader array of marketer products and services around content ideation, creation and distribution."
With pressure from publishers and advertisers, Ad Block Plus, one of the largest ad blocking companies, has recently announced that it is forming an independent board to determine if ads qualify as "acceptable" and allowed through its filter. However, this will most likely not solve the issue if publishers continue to pack their sites with advertising and trackers, of which researchers say publications websites have more than twice the number of trackers than on average websites, that prolong loading time or dampen user experience by interruptive advertising.
In this graph below, you can see how advertising slows down mobile websites for major publishers.
A few weeks ago, the Interactive Advertising Bureau came out with a message of "we messed up" to advertisers and content providers. "We lost track of the user experience," wrote Scott Cunningham, senior vice president of technology and advertisement operations at the Interactive Advertising Bureau in a statement.
The organisation is launching a new standard of LEAN, which stands for "light, encrypted, ad-choice supported, non-invasive ad," that aims to put "user experience" at its centre. Some media companies have already started their own initiatives: Slate has embarked on working to reduce its webpage loading time by 75 percent.
"Ad blocking is the best thing that could happen to advertisers and publishers," said Joe McCambley, founder of marketing consultancy Wonderfactory and one of the earliest designer of banner ads. "It forces us to make better ads and create better content, I would call it an age of renaissance for advertising."
The surge in ad blocking is a reminder to publishers that its past success is built on audience engagement and trust.
"Publishers need to be very mindful what runs on their feed, if they deliver bad experience to user, they are trading engagement for revenue, which means they will lose the users in the end." – Nativo's Justin Choi
This post was first published by the World Editors Forum and is republished here with their kind permission.
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Global marketing guru shares trends and insights


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Party leaders to go head-to-head in 'Climate Debate'
After casting the upcoming general election as the 'climate election', the Green Party has welcomed Channel 4's announcement to host a leaders' debate focusing on the climate crisis. But whilst the leaders of the major opposition parties have confirmed their attendance, Boris Johnson is yet to comment on his participation.
Imogen Benson
Channel 4 will be hosting the UK's first-ever 'Climate Debate' next week, after a petition calling for such a debate attracted nearly 200,000 signatures.
Labour leader Jeremy Corbyn, Liberal Democrat leader Jo Swinson, SNP leader Nicola Sturgeon and Green Party Co-leader Sian Berry have all confirmed their attendance, whilst Prime Minister Boris Johnson has stayed silent on his involvement.
This isn't the first time Johnson has refused to attend a televised debate – Channel 4 was forced to cancel its leaders' debate on Sunday after the prime minister turned down the opportunity to go head-to-head with Corbyn.
The Conservative leader did participate in ITV's debate on Tuesday (19 November) against Corbyn, although the environment was granted minimal attention, with the climate crisis relegated to a brief 'quickfire' question.
Commenting on the importance of climate change in this election, Sian Berry, Green Party Co-leader, said: "Greens have set the agenda calling for this to be the climate election, alongside an enormous global movement of young people, and millions who know we cannot risk policies that will lead to runaway climate chaos.
"This election could be the last opportunity for voters to set the UK on track to tackle the climate emergency. The Green manifesto sets out how this can be done, and it is vital that the prime minister and all other party leaders debate this together.
"I'm excited that we will be able to set out the Green Party's ambitious manifesto for voters and hold the other parties to account for their constant dither and delay that has brought us into this crisis.
"In particular, we need to pin Boris Johnson down on his dismal environmental record. However, we understand that he won't even bother to turn up. This is the man who has avoided scrutiny at every possible opportunity. He has been prime minister for over six months, but only attended three Prime Minister's Questions, which are supposed to be weekly. Now he has called an election but doesn't want to be exposed to the electorate.
"The prime minister must attend the Climate Debate."
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Let's put the Chris back into Christmas
Last week, everyone in the world seemed to be talking about Christopher Hitchens, who you probably know by now has died of cancer. My hiatus has thus made me late to the party. But there simply was no way I was going to not address this story as, for the last couple of years, he's become one of the most influential figures in my own life.
Christopher Hitchens was a force of nature and a powerful ally in the fight against unreason. More than just one of the world's leading intellectuals, Hitchens was one of best writers and possibly the greatest orator of our time. Until last week, he may also have been the only one in the world who literally held the title of Devil's Advocate.
Sure, he had his faults. Namely his inexplicable views concerning the Iraq War. But when it came to religion, the topic that most defined him in his final years, he brought such an amazing combination of eloquent rhetoric, righteous anger, irreverence, and wit. Indeed, his blunt and devastating counterarguments have become so legendary they've gained their own nickname, the Hitchslap. A quick Google search will provide anyone with ample examples of the Hitchslap in action.
And though I'm a fan of both Richard Dawkins and Sam Harris, Hitchens brought his own wholly unique quality to the religion debate, one that can never be replaced.
Of course, the man who once said upon Jerry Falwell's death that if you'd given Falwell an enima, he'd fit in a matchbox had his enemies, particularly among what he called the "theocratic fascists". And sure enough, as news of Hitchens' death came out, controversy followed. To honor him, fans tweeted their appreciation using the hashtag #GodIsNotGreat. After the hashtag trended, it drove numerous threats of violence from religious people unaware it was referencing Hitchens' best-selling book (not that that would matter). And in class corporate fashion, Twitter opted to remove the hashtag from the list of trending subjects rather than show any integrity. Moreover, right-wing radio host Bryan Fischer asserted that Hitchens was now in Hell…because "God" loves him. And not surprisingly, the Westboro Baptist Church has vowed to picket Hitchens' funeral, an act that Hitchens would surely have appreciated.
I was fortunate enough to meet him on more than one occasion, both before and after his diagnosis. But unfortunately I never got the opportunity to share a drink with the man. Christopher Hitchens will surely be missed and I fully intend at the next Drinking Skeptically to celebrate his life with his favorite beverage, Johnny Walker Black.
Also, in his honor, I'm pushing a campaign to put the Chris back into Christmas.
Christopher Hitchens: In memoriam
Daniel Dennett on Christopher Hitchens
Since King Jong Il's death this week, here's a great clip of Hitchens on religion and North Korea:
The 20 Best Christopher Hitchens Quotes
More of his best quotes
BBC News Obituary
New Yorker Obituary by Christopher Buckley
Peter Hitchens on his brother's death
A Rap Obituary for Christopher Hitchens
Christopher Hitchens (thehindu.com)
CFI Mourns the Death of Christopher Hitchens (secularnewsdaily.com)
Postscript: Christopher Hitchens, 1949-2011 : The New Yorker (policyabcs.wordpress.com)
Christopher Hitchens (geoffarnold.com)
RIP Christopher Hitchens (1949-2011) (bookclubbabe.wordpress.com)
Christopher Hitchens on Kim Jong-il, One-Party States And…Putting the X Back in Xmas! (reason.com)
Goodbye Christopher Hitchens …. Welcome to Hell. (mackquigley.wordpress.com)
Humanists Mourn Christopher Hitchens: Stalwart for Atheism (secularnewsdaily.com)
This entry was posted on Tuesday, December 20th, 2011 at 11:50 pm and is filed under atheist.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
3 Responses to Let's put the Chris back into Christmas
Sayingwhatneedsaying says:
You are aware, of course, that Christopher Hitchens hated to be called Chris…… It was Christopher, or Hitch that he preferred.
mjr256 says:
I'm reasonably sure he no longer cares one way or the other.
Octavian says:
Well, believers or none believers, healthy or sick we all go someday for good from this awesome World. Chris looked more like a movie star than a thinker, he walked away too soon from this World. I really like the last picture from above with Mother Teresa on the cover of Chris' book, and I think she was the only person who could really sing and mean it "Imagine no possessions, I wonder if you can…", all the other millionaires like Lennon, or Yoko Ono and Peter Gabriel who sang the song at the Winter 2006 Olympics, were supposed to do it only on the Comedy Channel while the images of their possessions would be displayed in the background. Not that it is wrong to be rich, it is gooood just that we should express ourselves in the right environment, for instance Mother Terasa at the Winter 2006 Olympics and Yoko and Co at the Comedy Channel… you got my point 🙂


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Q: Sending output of os.system to web app I'm developing a webbased controller for robots. When I run a command like os.system('cd /home/tim/tmprcc/; ino build; ino upload'), I need to be able to send the output to the web app. How do I capture the output during execution in Python? The user needs to be able to see the output live as it is showing on my terminal.
Your answer should have Python code that calls do_something_function(new_output) every time a line of output appears, where new_output is the entire output generated so far.

A: You're going to want to look into the subprocess module.
import subprocess

cmd = subprocess.Popen(['cd', '/home/time/tmprcc;', 'ino', 'build;',
                        'ino', 'upload;'], stdout=subprocess.PIPE)

while cmd.poll() is None:
    new_output = cmd.stdout.readline()
    do_something_function(new_output)

Keep in mind that there are some caveats to this method. Straight from subprocess's documentation:

Warning Use communicate() rather than .stdin.write, .stdout.read or .stderr.read to avoid deadlocks due to any of the other OS pipe buffers filling up and blocking the child process.

See this answer for more info.


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The Politics of the (im)Possible
Sharjah Biennial 12: The past, the present, the possible
Nat Muller
008 / 30 April 2015
The opening days of the 12th Sharjah Biennial (5 March–5 June 2015) were, unlike previous years, a quiet and intimate affair. Perhaps this was due to the March Meeting, the biennial's annual symposium, being postponed to May or the Emirate's major art fair Art Dubai being held almost two weeks after the biennial's opening and internationals opting for a fair and biennial combo. It made for a calm, tranquil and at times bizarrely solitary viewing experience: no jostling for seats at video screenings or craning of necks for wall pieces. This suited many of the works, which were poetic and contemplative in nature, quite well. And yet within all this serenity something was lacking and something fell flat. Was it the refusal of curator Eungie Joo and associate curator Ryan Inouye to provide a curatorial framework for this edition, thus making the works feel disconnected from each other and making the audience solely rely on the curators' choices without any further motivation or further positioning? Is it, in a time the curators themselves deem a 'particularly decadent and disharmonious moment in human history', enough to provide mere whispers and gestures rather than outspoken and bold statements, with the noted exception of a few works? Or perhaps was it that in the absence of a curatorial theme, the focus on Sharjah as a site that 'can help us imagine and reflect upon its ambitions, possibilities and being', felt all but a bit forced and left the works that did not directly deal with Sharjah just a little devoid of context?
The past decade has produced biennials from Berlin to Istanbul and Sao Paolo that have predominantly focused on big political and social themes. It is therefore refreshing and commendable to see curators plead for a return to the realm of the imaginary and of wonder that artistic practice can instigate. Nevertheless, these imaginaries or 'meditative pauses' as Joo names them, still in some way or other require a degree of definition. And that's where this very compact biennial did not quite deliver. With only fifty-one artists participating, the conditions for forging concentrated and complex relations and interconnections between the various works and practices would have been ideal. However, this was not made explicit. If drawing connections and identifying possibilities between the past and the present were among SB12's objectives, then whose past are we talking about, and whose present? Showing the grande dames of Lebanese art such as Etel Adnan (b.1925), modernist Saloua Raouda Choucair (b.1916), Turkish avant-gardist Fahrelnissa Zeid (b.1901) or the very political work committed to the struggle of the Palestinian people of Abdul Hay Mosallam Zarara (b.1933) will always have great value. But including them to merely illustrate the practices of the past undoes the geo-political, artistic and historical specificities that shape their works. Moreover, it is unclear how these works speak specifically to the past of Sharjah or the UAE in general.
The strongest works of the biennial were those that incorporated elements of the local context indirectly instead of offering a direct response. Take for instance, Taro Shinoda's desert-inspired Japanese garden karesansui (2015) that used local materials, more specifically sand, to construct a dry landscape garden. As the wind blows, the craters in the plain of sand deepen and beautifully show the slow passage of time. Damián Ortega makes physical and communication boundaries porous in his architectural sound piece Talking Wall (2015), which is based on the fossilised coral walls he encountered in the Heritage Area in Sharjah. The set of three low, curved walls with interconnected openings bored into them function simultaneously as speaking and hearing holes, yet also act as barriers and frustrate the free flow of movement. As such, the piece is wonderfully contradictory: the walls invite an openness of communication, but only work if interlocutors stand apart at a distance. These two pieces are good examples of how a material specificity found in Sharjah is transcended and translated into a more universal comment. Or consider Rheim Alkadhi's subtle but very evocative gesture of collecting eyelashes of sea labourers who work along the Sharjah Creek and fixing them together on a strip to make up a strand of eyelashes. With every eyelash a different narrative, and literally a point of view, is connected to the other. We can only imagine how unsettling the artist's initial conversations with these labourers must have been and how a bond of trust must have grown for the labourers to agree to donate something as personal and intimate as an eyelash. The frailness of this exchange is artfully scripted in the fragility of the work.
HH Sheikh Dr. Sultan bin Mohammed Al Qasimi, HE Sheikha Hoor Al Qasimi and SB12 curator Eungie Joo at the opening of Sharjah Biennial 12, 2015.
Photo by Alfredo Rubio. Image courtesy of Sharjah Art Foundation.
In its 24th year now, the Sharjah Biennial has earned its stripes among the biennials of the world, yet this has not been without controversy, as I have written elsewhere on Ibraaz.[1] This has to do with sensitivities, political and otherwise, that have become more pronounced since 2011. The eponymous 'possible' is therefore always bound to the geopolitical limitations of place. The biennial through its various iterations and with its respective curators has attempted to stretch these limitations but alas, there's an increasing coyness in challenging them. Telling here is the title of Brazilian artist Cinthia Marcelle's performative installation AT THE RISK OF THE REAL (2015), probably the politically most critical work in the biennial, which deals with the construction boom in the Gulf and the plight of migrant labourers. Marcelle created a wooden beam structure covered with large sieve frames. At set times, as if a choreography, sand is swept through the sieves and a veil of dust flutters down. The assistants manning the brooms can be heard but they cannot really be seen; they are an invisible labour force. It is slightly uncomfortable because the scene is all too reminiscent of reality in the Gulf. Turning this into an artwork underlines the complicity of the viewer, and perhaps that we all too easily and willingly allow dust to be thrown in our eyes.
Other memorable works broke formally or conceptually with the politics of institutional representation. The display of Rayyane Tabet's Steel Rings (2013–) in an entire wing of the Sharjah Art Museum was brilliant and daring. The work is part of a larger project by Tabet on the Trans-Arabian Pipe Line (Tapline) that was initiated in 1946 with the idea to transport oil over land from Saudi Arabia to Palestine. The creation of the State of Israel in 1948 and the 1967 war had to effect that the route of the pipeline ended in South Lebanon. The pathway of the pipeline not only reflects the region's geography but also its political turmoil. The project was abandoned in 1990 during the First Gulf War. Each steel ring is engraved with its geographic coordinates and the distance from its source in Saudi Arabia. At the museum the first 60 kilometres are represented. Not only do the engraved rings lend a brittle monumentality to the history of the Tapline but they also challenge the architecture of the museum and drive home the point that oil is what drives wealth, and subsequently the 'possible', in the Gulf region. Within the context of a well-funded biennial, this becomes particularly self-referential. I just wish Joo had employed this inspired way of installing in the museum's other wings. Granted, with its many consecutive rooms, the Sharjah Art Museum is not an easy space and there is definitely an argument to be made for giving artworks the breathing space they need. However, regardless of the quality of the works in the other wings, in particular the wonderful cheeky instruction manual-like canvasses of Beom Kim, the works felt silenced. As if all the pieces that could belong on a wall in a museum were indeed placed on a wall in a museum. The institutional framework became a little overbearing and the viewing experience a little insipid, precisely because of the acquiescence in the museum's architecture.
SB12 might not have been Sharjah's most pronounced biennial but it somehow reflects as much on impossibilities as it does on possibilities. The impossible always being the more challenging option to aspire to. By insisting on the possible, SB12 skidded the thin line between understated and underwhelming.
[1] Muller, N., "Noise in the Courtyard, Sharjah Biennial 11 – Re-emerge, Towards a New Cultural Cartography,", Ibraaz, 22 April 2013, http://www.ibraaz.org/reviews/21.
Sharjah Reviews Curating Biennial
Nat Muller is an independent curator and critic based in Amsterdam. Her main interests are the politics of representation, contemporary art from the Middle East, and food. She has written numerous catalogue and monographic essays on artists from the Middle East and has curated exhibitions, screening programs and other projects internationally. www.natmuller.com
Not New Now
Reem Fadda in conversation with Fawz Kabra
Positional Views
Eungie Joo in conversation with Stephanie Bailey
Hicham Khalidi in conversation with Daniella Rose King
Adelina von Fürstenberg in conversation with Stephanie Bailey
10th Sharjah Biennial
Mayssa Fattouh
Banner image: Hadia Gana, Tripoli airport, 2011. Photograph courtesy and © Hadia Gana.