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Euglenophyta (também euglenofíceas ou euglenófitas) é a designação dada a um conjunto de organismos da divisão Euglenozoa, constituído por eucariontes dotados de um núcleo mesocariótico que apresentam clorofila a e b, xantofilas e carotenos como pigmentos. Não possuem parede celular, porém apresentam uma película proteica organizada em forma de espiral em volta do citoplasma. São dotadas de um ou dois flagelos que auxiliam na locomoção e alimentação. A película da membrana plasmática auxilia na locomoção em ambientes onde o movimento dos flagelos é dificultado.

Descrição
Existem cerca de 800 espécies descritas que ocorrem no ambiente marinho e de água doce. Um terço deste grupo possui cloroplastos, pigmento que confere cor verde, as outras são incolores e saprófitas. As clorofiladas são encontradas com maior frequência em ambientes ricos em matéria orgânica, pois podem assimilá-las.

Existe apenas um gênero que forma colônia, todo o restante é unicelular, apresentando um flagelo e uma macha ocelar na região anterior.Cerca de um terço dos gêneros de euglenófitas são autotróficas mas os restantes são heterotróficos, ingerindo o seu alimento do exterior. Por este motivo, alguns autores consideram mais correto colocar esta divisão junto com os protozoários flagelados.

O representante mais conhecido é a euglena. Ela é unicelular, não possui parede celular, mas possui membrana plasmática, dotada de uma película que pode ser flexível ou não, ajudando na locomoção.

O flagelo da euglena se insere em uma depressão chamada reservatório. Nele há outro flagelo, que não emerge.

Próximo ao reservatório, há o estigma, ou macha ocelar, que se localiza no citoplasma e é uma estrutura fotossensível.

As euglenas possuem um vacúolo contrátil, que controla a quantidade de água em seu interior. Normalmente ocorrem em espécies de água doce, atuando no controle da osmose. A água é eliminada pelo reservatório, após isso um novo vacúolo é formado.

O produto de reserva da euglenas é o paramilo, um tipo de polissacarídeo que é estocado pelos plastídeos e possui uma região rica em proteína, chama pirenóide.

Na pirenóide estão localizadas enzimas relacionadas com a fotossíntese.
As euglenas se reproduzem assexuadamente por mitose seguida de divisão binária longitudinal.

A maioria destes organismos alimentam-se ingerindo organismos menores, tipicamente bactérias, ou por absorção. Alguns Euglenoidea, no entanto, possuem cloroplastos, obtendo energia mediante fotossíntese. Estes costumam perder o citostoma e usualmente apresentam outras adaptações a uma vida autotrófica, tais como manchas oculares sensíveis à luz. Os cloroplastos estão contidos em três membranas e estão pigmentados similarmente aos das plantas, sugerindo que foram adquiridos a partir de incorporação de alguma alga verde.

Todos os membros dos Euglenozoa possuem mitocôndrias com cristas discóides, que nos Kinetoplastea possuem caracteristicamente um grânulo ou kinetoplastídeo que contém ADN, associado com as bases flagelares. Não se encontrou exemplos de reprodução sexual dentro do grupo. A reprodução dá-se mediante divisão celular, com mitose fechada. O carácter monofilético dos Euglenozoa é geralmente aceito, e crê-se que estejam relacionados com os Percolozoa e outros Excavata flagelados.

Cloroplasto, Mitocôndrias e Substância de Reserva

Numerosos cloroplastos são encontrados nas células euglenóides, usualmente têm forma discóides ou placóides com um pirenóide central. Pirenóide é uma região proteinácea dos cloroplastos, rica na enzima rubisco, e que por isto, comumente está relacionada com a formação de produtos de reserva da fotossíntese. Nos cloroplastos ocorrem três membranas, duas do envelope do cloroplasto e a mais externa, a membrana do cloroplasto retículo endoplasmático. Há presença de tilacóides que não formam grana, mas que se agrupam formando duas ou três bandas. Acredita-se que alguns euglenóides adquiriram seus cloroplastos através da ingestão de uma alga verde que passou a viver simbioticamente na célula ingestora (hospedeiro), por um processo de endossimbiose secundária. Os pigmentos fotossintetizantes são a clorofila a e a clorofila b e o β-caroteno, algumas euglenófitas apresentam a xantofila diadinoxantina. Grânulos de paramilo estão presentes no citoplasma atuando como substância de reserva. O paramilo é formado por uma cadeia de β-1,3-glicano. Numerosas mitocôndrias são encontradas nas células de um euglenóide. Uma característica interessante é que existem mais mitocôndrias em espécies exclusivamente heterotróficas do que em espécies autotróficas. Em alguns casos, a crisolaminarina pode em alguns casos substituir os gânulos de paramilo como forma de reserva (Eutreptiella gymnastica e Sphenomonas laevis).

Reprodução

Em Euglenophyta, a reprodução sexuada é desconhecida, sendo a reprodução assexuada por divisão longitudinal a principal forma de reprodução do grupo. A divisão celular ocorre do ápice para base e cada célula filha conserva um dos flagelos da célula-mãe, sintetizando o outro par "de novo". Em resposta a modificações nas condições ambientais, os euglenóides podem formar cistos, que funcionam com uma fase de resistência. A formação dos cistos
envolve a perda dos flagelos, aumento no número de grânulos de paramilo estocados, alteração do formato celular (torna-se uma esfera), aumento do número de corpos mucíferos e deposição externa de várias camadas de mucilagem.

Classificação

Classe Euglenophyceae

Ordem Heteronematales
Dois flagelos emergentes: um flagelo longo voltado para a região anterior da célula e outro curto voltado para a posterior; organela especial para ingestão de partículas presente (Citossoma). Gêneros Comuns: Água-doce: Peranema sp.

Ordem Eutreptiales
Dois flagelos emergentes: um voltado para a região anterior da célula e outro inserido lateral ou posterior na célula; ausência de organela especial para ingestão de partículas (Citossoma).Gêneros Comuns: Eutreptia sp., Eutreptiella sp. (Estuários) e Distgma sp. (Água-doce).

Ordem Euglenales
Dois flagelos presentes: somente um flagelo emerge do canal; ausência de organela especial para ingestão de partículas (Citossoma). Gêneros Comuns: Água-doce: Euglena sp, Trachelomonas sp., Phacus sp. Colacium sp. e Astasia sp. (incolor)

Ligações externas

Menezes M. CONTRIBUIÇÃO AO CONHECIMENTO DAS ALGAS GENÊRO EUGLENA (EUGLENOPHYCEAE)
Paula E.; Plastino E.; Oliveira E.; Berchez F.; Chow F.; Oliveira M. INTRODUÇÃO À BIOLOGIA DAS CRIPTÓGAMAS

Excavata
Euglenozoa

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Family Support Worker Marian Smith is available to offer support and guidance for any concerns or difficulties that families are experiencing. These may include significant life changes such as moving home or school, family break-up, separation, loss and bereavement or social and emotional issues such as anxiety, anger-management, low self-esteem or relationship difficulties.
Families can enjoy spending time together drawing, painting, colouring, sketching etc. Materials and refreshments available.
Who – All children and parents, although Reception and Key Stage 1 (years 1 and 2) children to be accompanied by an adult.
is a place to complete homework tasks with support and resources available.
It's located within our brand new, exciting Learning Hub (previously the library area).
Who is it for? All children and parents/carers to use together. Pupils in years 5 & 6 will also be welcome to visit independently with parental permission. Slips are available in the Learning Hub.
When is it? Every Monday from 3.00 – 4.00 pm, Mrs Smith will be available to provide support, resources and refreshments.
Have Your Say. Bridport Primary School is committed to continuous improvement. Over the last few years, the school has worked to improve communication with parents and take on board suggestions or recommendations that they may have to help us improve outcomes for the children. We have strengthened this by creating a Parent Forum. The remit of the Parent Forum will be to focus on whole school improvement. It is an opportunity to gauge parental opinion on a range of aspects of school and to take feedback from both members and the wider parent body.
The Xchange is a great website with news and information for Dorset families with children who are disabled or have additional needs. Click here to visit the Xchange.


We study the coevolution of network structure and node states in a model of multiple state interacting agents. The system displays two transitions, network recombination and fragmentation, governed by time scales that emerge from the dynamics. The recombination transition separates a frozen configuration, composed by disconnected network components whose agents share the same state, from an active configuration, with a fraction of links that are continuously being rewired. The nature of this transition is explained analytically as the maximum of a characteristic time. The fragmentation transition, that appears between two absorbing frozen phases, is an anomalous order-disorder transition, governed by a crossover between the time scales that control the structure and state dynamics.


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Our new e-book on Christopher Nolan!
Earlier I've described our site as a series of experiments in para-academic writing—a strategy for getting our ideas and research to film enthusiasts both inside and outside educational institutions. Once we had created the site and mounted essays and blog entries, we pushed on to other possibilities.
Could we, we wondered, post published books that are out of print, making them free for anyone with access to the Web? Yes and yes.
Could we create a print book out of blog entries? Thanks to the University of Chicago Press, we did.
Could we supplement our textbook Film Art with extracts-plus-commentary from classic films? Thanks to the Criterion Collection, it proved possible. (Go here for a sample.)
Could I post as an e-book a revised version of a published book, with expanded text and color stills? You bet!
Could I post a new e-book based on blog entries? Done.
Could we post our own video essays? Check and check.
How about lectures in video form? Yup, yup.
Today we launch another experiment. Christopher Nolan: A Labyrinth of Linkages is offered to you as an e-book. It revises, reorganizes, and expands on several earlier posts. What's the new wrinkle? For the first time we offer film clips "baked into" the text. A version without extracts is also available. The cost for either one is $1.99.
You can acquire either here, along with more information. What follows provides a little background on the project.
Nolan contendere
Is Christopher Nolan a good filmmaker? A bad one? Good on some dimensions, bad on others? What about the faults and virtues of individual films?
These are questions people consider typical of film criticism—questions turning on evaluation. Then there are questions of personal taste. Even if his films are good, do you dislike them? Even if they're bad, do you enjoy them? Most people don't distinguish between evaluation and taste, but I've argued before that this is an important distinction.
Christopher Nolan: A Labyrinth of Linkages grants that along certain dimensions Nolan's films can be faulted. By some criteria, his technique occasionally falters. Along other dimensions, the work is valuable. But the primary concern of the book isn't to evaluate Nolan. Kristin and I want to analyze some ways in which his narratives have been innovative.
Innovation isn't inherently a good thing, of course, but we think that Nolan has fruitfully explored some fresh options in cinematic storytelling. Contrary to common opinion, we don't think that the Dark Knight trilogy is a significant part of this tendency. We concentrate on Following, Memento, Insomnia, The Prestige, and especially Inception. We see in these films a consistent inquiry into how multiple time frames and embedded plotlines can be orchestrated in fresh and engaging ways.
The key problem is comprehensible complexity: How do you build more elaborate structures and still not lose your audience? How do you design a labyrinth that contains enough linkages to guide your viewer toward a unified experience? This is a problem that confronts any filmmaker who tries for ambitious storytelling within the tradition of mainstream American cinema.
So if one of your criteria for a good film is adventurous novelty, then there is a case to be made for Nolan. But maybe you don't accept that criterion, or you resist the claim that he's doing something intelligent with classical plot structures, or maybe his work just isn't to your liking. Nonetheless, we hope that our analyses will shed light on his films—and more generally, on other films.
One of the goals of all our research, online and off, is to trace out broad tendencies. We're interested in disclosing creative options that are available to filmmakers working in different traditions and at different points in film history. Other directors or screenwriters can push Nolan's experiments in other directions. And we can study all these options and pathways while suspending evaluation and personal taste.
Old rules, and new
Christopher Nolan: A Labyrinth of Linkages sticks to some of the rules I outlined with respect to Pandora's Digital Box: Films, Files, and the Future of Movies.
The original blog entries aren't taken down. All the original blog entries will remain available online. To see them, click on the Nolan category on the right.
The book isn't simply a blog sandwich. One reason I created this book was to revise and reorganize the somewhat diffuse blog posts into something tighter, with a smoother flow of ideas.
The book has substantial new material. Some points in the original posts are expanded, while we add some fresh ideas about Nolan's significance.
It isn't an academic book. It's written in the conversational style of our blogs. Nonetheless, the text and a reference section in the back provide links to documents, interviews, sources, and sites of interest.
The book isn't free… Again, I've had to pay for design and work on the video clips. So my hope is to recoup my expenses and even pay myself something for my effort.
…but it's very, very cheap. Planet Hong Kong 2.0 runs $15, which I think is a fair price given the cost of designing a long book with hundreds of color pictures. Pandora is a lot simpler and has only a few stills, so it costs $3.99. The Nolan book, quite a bit shorter than Pandora but with many stills and several video extracts, is priced at $1.99.
And there will be video. One version of the book contains six short extracts from films that are analyzed. These are "baked in." That is, you don't have to be online to watch them.
So now, some specifics. These are also reviewed on the purchase page.
We offer a vanilla version of Christopher Nolan: A Labyrinth of Linkages that is a pdf file of 10 MB. It contains lots of stills but no clips. It will display well on any computer or tablet. It costs $1.99.
The audiovisual version of the book is a much fatter pdf file, nearly 300 MB. That one will take longer to download, of course, but it will enable you to play the clips anywhere, whether you're online or not. It too costs $1.99.
All the clips play smoothly on laptops and desktops, whether PC or Mac. As far as we know, Android-based tablets will run the clips organically. Still, some operating systems on some devices may not natively display the videos. Most notably, the Adobe PDF Reader on the iPad will not run the clips. But there is at least one iOS-friendly application available, PDF Expert, that will play the clips. Probably other apps exist or will be developed. You may want to experiment for best results.
Payment procedure is via PayPal, funneled through PayHip. PayHip enables us to put a big e-book file on the Cloud. When you make your purchase, you will be directed back to the PayHip site to download the book. An email will also be sent to the address you provided, with a download link.
Once more, you can go here to order the book. On the same page you can examine the Table of Contents.
As I said back in 2012 when we introduced Pandora: If you decide to buy the book, we thank you. And again we quote Jack Ryan from the end of The Hunt for Red October: Welcome to the new world.
Thanks to our Web tsarina Meg Hamel, who did her usual superb job turning the Nolan blogs into this little book, and who has set up the payment process to be quick and easy. Thanks as well to Erik Gunneson for his work preparing the clips for our analyses.
All illustrations in this entry from The Prestige.
Wednesday | October 30, 2013 | Books, Directors: Nolan, Narrative strategies | No Comments »
VIFF 2013 finale: The Bold and the Beautiful, sometimes together
Gebo and the Shadow (2012).
I'm a little late catching up with our viewings at the Vancouver International Film Festival this year (it ended on the 11th), but I did want to signal some of the best things we didn't squeeze into earlier entries. Kristin and I also want to pay tribute to one of the biggest moving forces behind the event.
Safe but not sorry
Like Father, Like Son (2013).
Among other goals, film festivals aim to provide a safe space for nonconformist filmmaking. Programmers need to find the next new thing—art cinema is as driven by novelty as Hollywood is—and they encourage films that push boundaries. What isn't so often recognized is that sometimes festivals show filmmakers who were once quite artistically daring backing off a bit from their more radical impulses. Part of this is probably age and maturity; part of it reflects the fact that apart from daring novelties, festivals also showcase works that might cross over to wider audiences. And of course festivals will present recent works by the most distinguished filmmakers, almost regardless of the programmers' hunches about their quality. Some sectors of the audience want to see the latest Hou or Kiarostami or Assayas.
Koreeda Hirokazu was thirty-three when Mabarosi (1995) won a prize at Venice. It's an austerely beautiful work, presenting a disquieting family drama in very long, static takes. Once the action shifts to a seacoast village, distant shots render slowly-changing illumination playing over landscapes, while the tension between husband and wife is built out of small gestures. For example, we learn that the forlorn wife is waiting in the bus stop only when a little bit of her comes to light.
Lest this seem just fancy playing around, Koreeda occasionally used his long takes to build suspense. Yumiko's new husband has been drinking. While he's out of the room, she opens a drawer to retrieve the bike bell she keeps in memory of her first husband, killed in a traffic accident. The second husband returns unexpectedly, and drunkenly collapses on the table beside her. But when she lifts her hands out of her lap, she inadvertently lets the bell tinkle a little.
The sound rouses him and he asks what she's holding. She raises her head at last and they begin a quarrel about each one's motives in marrying the other.
Eventually he will shift woozily to the other side of the table and notice what has been sitting quietly in the frame all along: the still-open drawer on the far right.
In later films, from After Life (1998) to I Wish (2011), Koreeda's visual design became less reliant on just-noticeable changes within a placid shot. The images have become less demanding, and more extroverted narrative lines carry stronger sentiment. The films remain admirable in their ingenious plotting and mixture of humor and pathos—which is to say, they are committed to that "cinema of quality" that makes movies exportable.
That commitment is firmly in place in Like Father, Like Son. Koreeda, now fifty-one, dares almost nothing stylistically or narratively. Yet every scene leaves a discernible tang of emotion, and his light touch assures that things never lapse into histrionics. If Nobody Knows (2004) and I Wish (2011) are his "children films," this is, like Still Walking (2008), a movie about being a parent.
The plot has a fairy-tale premise: Babies switched at birth. Our viewpoint is aligned with the well-to-do parents and particularly the ambitious executive Ryota. When he finds that six-year-old Keita isn't his birth son, he insists on swapping the boy into the household of the happy-go-lucky working-class Saiki family. In exchange, Ryota and his wife take in the boy that Saikis have raised as their own.
As the film proceeds, our view widens to create a welter of comparisons—two ways of being six years old, tough discipline versus easygoing parenting, what rich people take for granted and what poor people can't, a solicitous mother versus one who can't spare time for coddling. Koreeda is faultless in measuring the reactions of all involved. Ryota's wife slips into quiet depression. Saiki is an affable father with a childish streak, but he also looks forward to suing the hospital. Saiki's wife, a no-nonsense woman with two other kids to care for, is a mixture of toughness and maternal affection. As in a Renoir film, everyone has his reasons, and the drama depends on a process of adjustment stretching across many months. Climaxes become muted, though no less powerful for that.
A smile and a tear: the Shochiku studio formula, enunciated by Kido Shiro back in the 1920s, remains in force here. Simple motifs, such as images stored on a camera's photo card, hark back to all those affectionate picture-taking scenes in Ozu's classics. The whole is shot with a conventional polish—coverage through long lenses, straightforward scene dissection—that's far from the strict, slightly chilly look of Maborosi.
It's impossible to dislike this warm, meticulously carpentered film. Koreeda has proven himself a master of humanistic filmmaking, and I admire what he's done (as these entries indicate). Those of us who've been following his career for nearly twenty years, however, may feel a little disappointed that he hasn't tried to stretch his horizons a bit more.
Like Father, Like Son was rewarded with the Jury Prize at this year's Cannes festival. Steven Spielberg, jury president, has acquired remake rights for DreamWorks.
Action, blunt or besotted
A Touch of Sin (2013).
Jia Zhang-ke's A Touch of Sin offers a comparable adjustment to broader tastes. It's far less forbidding than his early features Platform (2000), Unknown Pleasures (2002), and The World (2004). Somewhat like Koreeda, Jia's earliest fiction films embraced a long-take aesthetic that tended to keep the characters' situations framed in a broad context. (His documentaries, like the remarkable 2001 In Public, were somewhat different.) Jia proceeded to breach the boundary between documentary and fiction in Still Life (2007), Useless (2007), and 24 City (2008). With A Touch of Sin, Jia takes on a twisting, violent network narrative that is as shocking as Koreeda's duplex story is ingratiating.
We start with a villager who fumes at the corruption in his town and carries out a vendetta against its rulers. Another story centers on a receptionist who is taken for a prostitute and abused by massage-parlor customers. A third protagonist is an uneducated young man floating among factory jobs who turns his frustration inward. Threading through these is a drifter who shoots muggers from his motorcycle and later takes up purse-snatching.
The sense of inequity and exploitation that ripples through Still Life and 24 City now explodes into rage. Rich men (one played by Jia) puff cigars while strutting through a brothel, businessmen casually exploit their mistresses and buy off politicians, and injustices are settled with fists, knives, pistols and shotguns. "I was motivated by anger," Jia says. "These are people who feel they have no other option but violence."
Like Koreeda, Jia has had recourse to some of the casual long-lens coverage we find in many contemporary movies, but certain shots gather weight through his signature long takes–especially shots holding on brooding characters. In all, we get a dread-filled panorama, with bursts of violence staged and filmed with an impact that reminds you how sanitized contemporary action scenes are.
For more, see Manohla Dargis' rich Times review of the film.
After the painstaking (and pain-giving) dynamics of Drug War (our entry is here), one of Johnnie To Kei-fung's best recent films, it's wholly typical that he does something outrageous. His work with Wai Ka-fai at their Milkyway company has always alternated unforgiving crime films of rarefied tenor with sweet and wacko romantic comedies that assure solid returns. But seldom have they combined the two tendencies into something as screechingly peculiar as The Blind Detective.
Initially the investigator, inexplicably named Johnston, seems to be a brother to Bun, the mad detective of To and Wai's 2007 film. He insists on having the crime reenacted so as to intuit the perp's identity. But since Johnston is blind, somebody else must tumble down stairs, get whacked on the head, and generally suffer severe pain in the name of the law. Ready to sacrifice herself to Johnston's mission is officer Ho, a spry and game young woman with a crush on him.
Johnston and Ho are trying to find what happened to a schoolgirl who went missing ten years before. But this account makes the movie seem more linear than it is. Johnston makes his living from reward money, and he's also dedicated to finding a dancing teacher he fell in love with when he had sight. So the search for Minnie is constantly deflected. Yet the digressions end up, mostly through Johnston's inexplicable flashes of imagination, carrying them back to their main quest.
This episodic plot, or rather two plots, stretched to 130 minutes (making this the longest Milkyway release, I believe), yields something like a Hong Kong comedy of the 1980s, where slapstick, gore, and non-sequitur scenes are stitched together by the flimsiest of pretexts. The tone careens from farce (not often very funny to Westerners) to grim salaciousness. Johnston's intuitive leaps are represented by blue-tinted fantasies that show him gliding through a scene at the moment of the murder, or assembling a gaggle of victims to declaim their stories. Characters are ever on the verge of exploding in anger or aggression, and between the big scenes Ho and Johnston dance tangos and gnaw their way through steaks, fish, and other delicacies.
Once more, the congenitally fabulous Andy Lau Tak-wah is accompanied by Sammi Cheng as his love interest, and the two ham it up as gleefully as in Love on a Diet (2001). (They were more subdued in my favorite of the cycle, Needing You…, 1999.) This is, in short, a real Hong Kong popular movie. It brought in US $2.0 million in the territory, and $33 million on the Mainland, about the same as Monsters University. If it keeps Milkyway in business, how can I object?
For a discerning take on The Blind Detective, see Kozo's review at LoveHKFilm.
JLG in your lap
Kristin and I were keenly looking forward to 3 x 3D, the portmanteau film collecting stereoscopic shorts by Peter Greenaway, Edgar Pêra, and Jean-Luc Godard. Kristin found the Greenaway episode–sort of his version of Russian Ark, taking the camera through the labyrinth of a ducal palace and showing off elaborate digital effects–fairly appealing. But for us the Godard was the main attraction, and he didn't disappoint.
At one level, The Three Disasters reverts to his characteristic collage of found footage, film stills, scrawled overwriting, and insistent voice-over. (Is it my imagination or does the the 83-year-old filmmaker's croak sound increasingly like that of Alpha 60?) The montage is sometimes over-explicit, as when Charlie Chaplin is juxtaposed with Hitler. There's a funny passage of portraits of one-eyed directors (Lang, Ford, Ray), as if to reassert the primacy of classical monocular cinema. At other points, things get obscure, as when Eisenstein's plea for Jewish causes during World War II is followed by shots from The Lady from Shanghai. But this is the Godard of Histoire(s) du cinema, piling up impressions that beg for acolytes to identify the images and find associations among them.
Frankly, this side of Godard doesn't grab me as much as his pseudo-, quasi-, more-or-less-narrative features. But in 3D his dispersive poetic musings take on a new vitality. He doesn't retrofit old movie clips and still photos for 3D. Instead he superimposes them, making one cloudy plane drift over another. He can also, more forcefully, present his signature numerals and intertitles in a new way–by having them pound out of the screen and hang rigidly in front of the image.
There are also some 3D shots made specifically for the film, most consisting of handheld shots that shift around a park, a medical complex, and, of course, a media studio. The very title of Godard's film, punning on 3D as a technical disaster, as well as a throw of the dice (dés), suggests his ambivalence toward the technology. "The digital," his voice declares, "will be a dictatorship," but perhaps it will never abolish chance.
As usual, Godard has fun with simple equipment. He frankly shows us his camera rig, two Canon DSLRs lashed together side by side, one upside down. By shooting them in a mirror and shifting focus, he manages to make each lens pop and recede disconcertingly, as if Escher had gone 3D. This shot alone should inspire DIY filmmakers everywhere. So too should the one-slate credits. Whereas Greenaway's segment lists scores of names in its credit roll, Godard's lists only four, alphabetically. I can't wait for the feature, Farewell to Language. (Trailer here.)
Brian Clark has an informative review of The Three Disasters at twitchfilm.
Looking at the fourth wall
In nineteenth-century Portugal, the elderly Gebo ekes out a living as a company accountant. His wife Doroteia and his daughter-in-law Sofia wait with him for the return of João, a rebellious ne'er-do-well. Gebo feeds Doroteia's illusions about their son, who has likely become an outlaw. When João returns after eight years away, he throws the family into turmoil and becomes fixated on the cash that his father safeguards for the firm.
After World War II, André Bazin noticed that many filmmakers were starting to take a creative approach to adapting plays. Olivier's Henry IV, Welles' Macbeth and Othello, Dreyer's Day of Wrath, Cocteau's Les Parents terribles, Melville's Les Enfants terribles, Hitchcock's Rope, and Wyler's Little Foxes and Detective Story, are far from the "photographed theatre" that some critics feared would dominate talking pictures. For decades Manoel de Oliveira has explored avenues of theatrical adaptation that have led us to some daring destinations. Gebo and the Shadow, drawn from a 1923 play by the Portuguese Raúl Brandão, is a powerful recent example, and possibly the best film I saw at VIFF this year.
After the credits show João loitering on the docks, the film confines the action almost wholly to the parlor of Gebo's family home. Early on we see the street outside through a window, but most of the film concentrates on the characters gathered around the room's central table. On stage, we can imagine the table at the center and the major characters assembling around it but leaving one side clear, facing the audience–in effect, accepting the convention of the invisible fourth wall that gives us access to the space.
As the still above suggests, it seems initially that Oliveira is playing up this convention, putting us into the stage space and setting the fourth wall behind us. Very soon, though, we're inserted between the players, so that we see the other side of this lantern-lit playing space.
For the most part, the first stretch of conversations and soliloquys among Gebo, Doroteia, and Sofia are played out in this planimetric, clothesline layout. So is the late-night arrival of the vagrant João, coming to sit opposite his father and laughing wildly. This shot corresponds to the end of the play's first act.
On the next day, when Gebo and his family receive some friends, the table is sliced in half.
The effect is to redouble the sense of proscenium space, presenting two planimetric arrays that always keep one "behind" us.
Like other chamber-plays-on-film (Dreyer's Master of the House, Hitchcock's Dial M for Murder), Gebo varies its spatial premises slightly to incorporate other possibilities. In the stretch corresponding to the second act of the play, the angle on the table changes twice, once to present the split table-scene above, and later, to the climactic moment when João joins Sofia and contemplates breaking open the strongbox.
Sometimes we're shown the window and other walls, usually presented when characters leave one shot and enter another. The constructive editing helps us tie together zones of the room that aren't ever given in an all-encompassing master shot. And the camera never moves, not even to reframe characters' gestures.
In previous films, Oliveira has played with the ambiguities of who's looking where. (See, for instance, Eccentricities of a Blonde-Hair Girl and The Strange Case of Angelica.) After a mysterious prologue involving João, a ravishing image presents Sofia watching at the window, then moving aside to reveal Doroteia behind her (and behind us).
As often happens, the start of a film sets up an internal norm; it teaches us how to watch it. This movie starts with a lesson in optical geometry. Sofia watches the street, goes out to scan for Gebo's arrival, then watches Doroteia from outside the window before coming back in and resuming her position at the window. As the shot develops, we can see Doroteia lighting a lamp and reflected in the window against the distant doorway.
When Sofia walks out of the shot, Oliveira's camera lingers on the window, in which we can still see Doroteia turning her head to watch Sofia's coming to her. This is the shot, imperfectly reproduced, that's at the top of today's entry. The image isn't far from the gently insistent changes of Koreeda's Maborosi. This film about a shadow starts with an image of a spectre.
Constructive editing often relies on a glance offscreen, so here he can play with minute differences of eye direction. Occasionally the actors look directly out at us. But when the table is halved, as above, the eyelines get very oblique, with opposite characters looking in the same direction.
In the third act, the frontal and planimetric grouping around the table returns. Gebo has searched fruitlessly for João and has returned to take the consequences of his son's theft.
Oliveira's adaptation omits the play's fourth act, when the family is reunited three years later. His version leaves the family suspended in a freeze-frame, haunted by the ghostly son who has betrayed their trust. This dramatic climax is also a visual one, with sunlight for the first time spilling into the chilly, lamplit parlor and its inhabitants startled, as if they shared João's guilt.
Perhaps more than the other films in this entry, Jebo and the Shadow shows why we need film festivals. Oliveira's purified experiment demands a lot from the audience, but it repays our efforts. It's at once an engrossing story and an exciting exercise in what cinema can still do. Note as well that I have managed to get through a discussion of Oliveira's film without mentioning his age.
For more on the film, see Francisco Ferreira's very helpful essay in Cinema Scope.
Finally, Alan Franey has announced his departure from the job of Director of the Vancouver International Film Festival. He's going out on a high note. This year's edition was a solid success, and its spread to venues around town seems to have brought a wider audience. For twenty-six years Alan has led the process of making the festival one of the best in North America. He has helped give it a unique identity as home to Canadian cinema, documentaries on the arts and the environment, and outstanding current Asian cinema.
For Kristin and me, he has been a wonderful friend and good-humored company. Alan's deep commitment to great cinema has shown in his recruitment of colleagues, his skilful defusing of potential crises (most recently the shift to digital projection), and his genial, almost Zen, good nature. Fortunately for the festival, he will remain as a programmer. He deserves our lasting thanks.
Good news for US audiences on some of these titles: Sundance Selects will distribute Like Father, Like Son, while Kino Lorber has wisely acquired rights for A Touch of Sin. Gebo and the Shadow is available on an English-subtitled DVD from Fnac and Amazon.fr. It's a very dark movie, and in order to make the frames readable here, I've had to brighten them a bit. These images don't do justice to what I saw in the VIFF screening, or even to what the fairly decent DVD looks like.
For more on planimetric staging of the sort we find in Gebo and Maborosi, see entries here and here and here. It's a common resource of modern cinema, and directors utilize it in a variety of ways.
Les trois désastres (2013).
Monday | October 21, 2013 | Directors: Godard, Directors: Jia Zhang-ke, Directors: Johnnie To Kei-fung, Directors: Kore-eda Hirokazu, Directors: Oliveira, Festivals: Vancouver, Film technique: Staging | No Comments »
GRANDMASTER followup: Harvey's eloquent defense of his US cut
"At the end of the day, who gives a shit?"
For more, go to Screen International. Our entry on the film is here.
Friday | October 18, 2013 | Directors: Wong Kar-wai, Film comments, National cinemas: Hong Kong | No Comments »
Familiar Middle-Eastern filmmakers return to VIFF
Closed Curtain (2013).
Two years ago David and I wrote about a group of Iranian and Israeli films that featured prominently in the 2011 VIFF program. This year's program boasted several more, many of them by the same directors.
Closed Curtain (Jafar Panahi and Kambuzia Partovi, 2013)
Despite still being banned from filmmaking and forbidden to leave Iran, Panahi has followed This is Not a Film with another fascinating feature that has made its way abroad. This time he co-directs with Kambuzia Partovi, who also plays one of the main characters, a screenwriter.
The writer flees to a seaside house (apparently Panahi's) to hide his dog from a roundup of animals deemed "unclean" under Islam. Once ensconced, the writer tries to conceal his pet by sealing the many large windows with opaque curtains. Eventually their privacy is invaded by another refugee, a young woman sought by local police for participating in a nearby party.
This first section of the film seems to be a straightforward allegory for Panahi's own situation, but well after the midpoint, Panahi himself appears and takes over as the main character. With the curtains removed, he stares at the pond behind the house, seemingly having a vision of himself amid the beauties of nature. He also gazes at the sea in front of the house, envisioning himself walking into it to commit suicide.
The opening stretches emphasize suspense, when the writer hears voices and sirens outside, and unseen officials hammer against the door. The result is an image of the creative artist forced to conceal himself from forces of authority. With Panahi's appearance, the film becomes more subjective than allegorical, and the abrupt juxtaposition of the two parts of the film create a puzzling whole. But that whole is rigorously filmed and arouses interest throughout.
Manuscripts Don't Burn (Mohammad Rasoulof, 2013)
In 2010, I posted about Rasoulof's beautiful film, The White Meadows (2009), an overtly allegorical film about the sufferings of various sectors of Iranian society. At that point I wrote, "He was arrested alongside Jafar Panahi (who edited The White Meadows) and about a dozen others on March 2. Fortunately he was released fairly soon, on March 17. What his future as a director in Iran is remains to be seen." Most immediately, he was given a prison sentence and banned from filmmaking. Neither condition evidently kept him from finishing the impressive Goodbye (2011), which I discussed here. More recently, upon returning to Iran from Europe, Rasoulof has had his passport seized and is unable to travel or to reunite with his family. Most observers believe that this treatment is a response to his harshly critical new film, Manuscripts Don't Burn, which has attracted attention at several festivals.
Manuscripts Don't Burn differs considerably from The White Meadows. There is no hint of allegory here as Rasoulof examines the state surveillance system.The plot centers around two dissident authors and their strategies for hiding their manuscripts and evading the authorities. While a ruthless, educated young official decides on two authors' fates, two working-class men carry out the kidnapping, torture, and murders that he orders. The hitmenare seen as victims themselves, as one of them, trying to pay medical bills for a sick child, continually finds that his last job's payment has not yet been transferred to his bank account. They endure stakeouts in chilly weather and grab takeout food on the fly. The whole film is shot in muted tones (in both Tehran and Hamburg) and conveys a sense of unrelenting grimness.
The plot is drawn from unspecified real-life events, and the film cautiously carries no credits for cast or crew. (For more information on the film's background, see Stephen Dalton's informative review from the film's premiere at Cannes.)
The Past (Asghar Farhadi, 2013)
Since A Separation (2012; see our entry here) became the first Iranian film to win an Oscar for best foreign-language film, Farhadi has become the most prominent director working in that country. This is witnessed by the fact that his new film, The Past, has been put forth as Iran's candidate for this year's Academy nomination.
The plot of the new film draws upon familiar strategies that created a strong, moving situation in A Separation. Again a husband and wife are on the brink of divorce. In this case, the husband, Ahmad, is Iranian, and the wife, Marie is French. Clearly they had lived together for a time in France, since when Ahmad arrives from Tehran, he knows how to get around Paris. Marie has two daughters from a previous marriage and plans to marry the small-businessman Samir, by whom she is pregnant. Samir has a morose young son who resists the idea of having Marie as a mother.
With this larger cast of characters, disagreements and obstacles pile up. Marie is extremely strict and strong-willed. Her older daughter is rebellious and stays out late. Ahmad tries to mediate between Samir's miserable son and Marie's scolding, while Samir tries to please Marie and still help his son adjust to the upcoming marriage.
As in A Separation, The Past builds up a mystery about an unhappy event. Samir's wife has attempted suicide. What led her to this desperate measure? Her chronic depression? An embarrassing argument with one of Samir's customers? Or did she know of Samir's affair with Marie? Ahmad's attempts to solve this mystery provide a strong, intriguing subplot alongside the shifting conflicts among the main adult characters.
With so many characters involved, the accumulation of problems and unhappiness eventually threatens to tip over into an exasperating melodrama. But I think Farhadi juggles all these motivations and events so well that we never feel that he has gone too far.
There has been some controversy over the fact that the film was shot entirely in France and therefore has little Iranian about it. Indeed, the Farsi-speaking emigrés who attended the VIFF screening to hear their native language spoken were perhaps disappointed that it was all in French. Yet in an ensemble cast, Ahmad remains the central character, helping to reconcile the others and comfort the three children (as in a rare cheerful moment when he helps the younger ones get a toy out of a tree).
If not quite as satisfying a film overall as A Separation, The Past confirms Farhadi as an Iranian director who can make appealing films for an international audience.
Trapped (Parviz Shahbazi, 2012)
Trapped is probably closer than most Iranian films shown at festivals to the sort of thing seen by popular audiences in its home country. The program notes describe it as a "moral thriller." It revolves around Nazanin, a studious first-year medical student (see image at bottom) forced through lack of dormitory space to share a flat with party-loving Sahar, who is trying to leave Iran. Sahar has borrowed money to pay for her exit visa and, unable to pay it back, is imprisoned. Nazanin struggles selflessly to help her out, including foolishly signing a promissory note taking on Sahar's debt and even sharing the threat of imprisonment.
The plot reminded me of the "child quest" tales that were prominent in the golden age of the Iranian cinema of the 1980s and 1990s, such as The Mirror and Where Is My Friend's Home. (Shahbazi was the assistant director of Panahi's The White Balloon, as well as conceiving its basic premise.) Here the heroine is distinctly older than the protagonists of those films, but she retains a naivete that makes her seem more childlike than the other characters, who manipulate and ultimately threaten her.
While Trapped doesn't have the simplicity and charm of those earlier films, it offers an absorbing story. It paints a grim picture of Tehran and gives some insight into the realities of life there. Like many Iranian films, it raises the prospect of emigration, though in this case Nazanin's strong desire to stay in the country and become a doctor is held up as the better choice.
A Place in Heaven (Yossi Madmony, 2013)
Two years ago I also reported on Madmony's Restoration. A Place in Heaven is a considerably more ambitious film. It traces the life of a military hero, known only by his wildly inappropriate nickname Bambi, across much of Israeli history. The title derives from a flashback scene early on, when a cook at a military camp praises Bambi's brave deeds and remarks that he has already earned a place in heaven. A secular Jew, Bambi scoffs at the notion and signs an impromptu contract trading that place to the cook in exchange for a daily spicy omelet.
Although Bambi dotes on his son Nimrod, the boy grows up to become a strictly religious Jew who disapproves of much that his father does. Still, when Bambi is on his deathbed, Nimrod goes in search of the cook to get back the place in heaven. As with Restoration, the plot is largely based around the father-son relationship, though there is also a touching and tragically short relationship between Bambi and his beautiful wife.
Unlike the largely urban Restoration, this film shows off the bleakly beautiful landscapes of Israel's desert.
There were many other striking and moving films on display at VIFF this year. David and I really can't do justice to all of them, but in a final post he will consider Koreeda's Like Father, Like Son, Jia's A Touch of Sin, Johnnie To's The Blind Detective, the Godard segment of 3x3D, and Oliveira's Gebo and the Thief. Like the items I've invoked here, each deserves an entry to itself, but time limits and further travels force us to be quick. Still, we hope that you can tell from our entries, VIFF 2013 yielded an extraordinarily high level of quality. As usual!
P.S. 17 October 2013: Thanks to Hamidreza Nassiri for correcting the original entry: Panahi is not, as we had said, under house arrest.
Trapped (2013).
Thursday | October 10, 2013 | Directors: Panahi, Festivals: Vancouver, Film comments, National cinemas: Iran, National cinemas: Israel | No Comments »

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Amazon S3 upload file and get URL Is it possible to upload a txt/pdf/png file to Amazon S3 in a single action, and get the uploaded file URL as the response?
If so, is AWS Java SDK the right library that I need to add in my java struts2 web application?
Please suggest me a solution for this.

A: You can work it out for yourself given the bucket and the file name you specify in the upload request.
e.g. if your bucket is mybucket and your file is named myfilename:
https://mybucket.s3.amazonaws.com/myfilename

The s3 bit will be different depending on which region your bucket is in. For example, I use the south-east asia region so my urls are like:
https://mybucket.s3-ap-southeast-1.amazonaws.com/myfilename

A: Similarly if you want link through s3Client you can use below.
System.out.println("filelink: " + s3Client.getUrl("your_bucket_name", "your_file_key"));

A: a bit old but still for anyone stumbling upon this in the future:
you can do it with one line assuming you already wrote the CredentialProvider and the AmazonS3Client.
it will look like this:
 String ImageURL = String.valueOf(s3.getUrl(
                                  ConstantsAWS3.BUCKET_NAME, //The S3 Bucket To Upload To
                                  file.getName())); //The key for the uploaded object

and if you didn't wrote the CredentialProvider and the AmazonS3Client then just add them before getting the URL like this:
  CognitoCachingCredentialsProvider credentialsProvider = new CognitoCachingCredentialsProvider(
        getApplicationContext(),
        "POOL_ID", // Identity pool ID
        Regions.US_EAST_1 // Region
);

A: For AWS SDK 2+
String key = "filePath";
String bucketName = "bucketName";
PutObjectResponse response = s3Client
            .putObject(PutObjectRequest.builder().bucket(bucketName ).key(key).build(), RequestBody.fromFile(file));
 GetUrlRequest request = GetUrlRequest.builder().bucket(bucketName ).key(key).build();
 String url = s3Client.utilities().getUrl(request).toExternalForm();

A: No you cannot get the URL in single action but two :)
First of all, you may have to make the file public before uploading because it makes no sense to get the URL that no one can access. You can do so by setting ACL as Michael Astreiko suggested.
You can get the resource URL either by calling getResourceUrl or getUrl.
AmazonS3Client s3Client = (AmazonS3Client)AmazonS3ClientBuilder.defaultClient();
s3Client.putObject(new PutObjectRequest("your-bucket", "some-path/some-key.jpg", new File("somePath/someKey.jpg")).withCannedAcl(CannedAccessControlList.PublicRead))
s3Client.getResourceUrl("your-bucket", "some-path/some-key.jpg");

Note1:
The different between getResourceUrl and getUrl is that getResourceUrl will return null when exception occurs.
Note2:
getUrl method is not defined in the AmazonS3 interface. You have to cast the object to AmazonS3Client if you use the standard builder.

A: @hussachai and @Jeffrey Kemp answers are pretty good. But they have something in common is the url returned is of virtual-host-style, not in path style. For more info regarding to the s3 url style, can refer to AWS S3 URL Styles. In case of some people want to have path style s3 url generated. Here's the step. Basically everything will be the same as @hussachai and @Jeffrey Kemp answers, only with one line setting change as below:
AmazonS3Client s3Client = (AmazonS3Client) AmazonS3ClientBuilder.standard()
                    .withRegion("us-west-2")
                    .withCredentials(DefaultAWSCredentialsProviderChain.getInstance())
                    .withPathStyleAccessEnabled(true)
                    .build();

// Upload a file as a new object with ContentType and title specified.
PutObjectRequest request = new PutObjectRequest(bucketName, stringObjKeyName, fileToUpload);
s3Client.putObject(request);
URL s3Url = s3Client.getUrl(bucketName, stringObjKeyName);
logger.info("S3 url is " + s3Url.toExternalForm());

This will generate url like:
    https://s3.us-west-2.amazonaws.com/mybucket/myfilename

A: Below method uploads file in a particular folder in a bucket and return the generated url of the file uploaded.
private String uploadFileToS3Bucket(final String bucketName, final File file) {
    final String uniqueFileName = uploadFolder + "/" + file.getName();
    LOGGER.info("Uploading file with name= " + uniqueFileName);
    final PutObjectRequest putObjectRequest = new PutObjectRequest(bucketName, uniqueFileName, file);
    amazonS3.putObject(putObjectRequest);
    return ((AmazonS3Client) amazonS3).getResourceUrl(bucketName, uniqueFileName);
}

A: If you're using AWS-SDK, the data object returned contains the Object URL in data.Location

const AWS = require('aws-sdk')
const s3 = new AWS.S3(config)

s3.upload(params).promise()
    .then((data)=>{
        console.log(data.Location)
    })
    .catch(err=>console.log(err))

A: System.out.println("Link : " + s3Object.getObjectContent().getHttpRequest().getURI());

With this code you can retrieve the link of already uploaded file to S3 bucket.

A: To make the file public before uploading you can use the #withCannedAcl method of PutObjectRequest:
myAmazonS3Client.putObject(new PutObjectRequest('some-grails-bucket',  'somePath/someKey.jpg', new    File('/Users/ben/Desktop/photo.jpg')).withCannedAcl(CannedAccessControlList.PublicRead))

String url = myAmazonS3Client.getUrl('some-grails-bucket',  'somePath/someKey.jpg').toString();

redpajama_set_name: RedPajamaStackExchange


Rea Walshe was promoted to Corporate Affairs and Licensing Director of the FAI in 2018 from her position as Head of Legal and Licensing.
She has been with the FAI for nearly 5 years moving up the ranks from Legal Manager.
She is centrally involved in a number of projects including preparing Ireland for hosting four matches as part of the EURO 2020 Finals and the potential 2030 Joint World Cup bid with England, Scotland, Wales and Northern Ireland.
She has a wide remit within the FAI touching all departments at some point or another.
She has also expanded her sporting involvement by joining the Board of the Federation of Irish Sport as Director and Company Secretary in 2017. She is also company secretary of the FAI and the Chair of the Governance and Risk Committee.
Walshe has an honours degree in law from UCC. She completed UEFA's first edition of the Football Law Programme in 2016 and is currently participating in an Executive Masters in Sports Governance (MESGO) a unique programme designed for sports sector professionals wishing to master the complex dimensions and the diversity of international practices related to professional sport on an international level.


text:
package vos;

import org.codehaus.jackson.annotate.JsonProperty;

public class VOPreferencia {

	//------------------------------------
	//Atributos
	//------------------------------------

	@JsonProperty(value = "id")
	private Long id;

	@JsonProperty(value = "tipo")
	private String tipoDeComida;

	@JsonProperty(value = "precio")
	private double precio;

	@JsonProperty(value = "zona")
	private String zona;

	//------------------------------------
	//Constructor
	//------------------------------------

	public VOPreferencia(@JsonProperty(value = "id")Long id, @JsonProperty(value = "tipo")String tipoDeComida,@JsonProperty(value = "precio") double precio, @JsonProperty(value = "zona")String zona) {
		super();
		this.id = id;
		this.tipoDeComida = tipoDeComida;
		this.precio = precio;
		this.zona = zona;
	}

	//------------------------------------
	//Metodos
	//------------------------------------

	public Long getId() {
		return id;
	}

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

	public String getTipoDeComida() {
		return tipoDeComida;
	}

	public void setTipoDeComida(String tipoDeComida) {
		this.tipoDeComida = tipoDeComida;
	}

	public double getPrecio() {
		return precio;
	}

	public void setPrecio(double precio) {
		this.precio = precio;
	}

	public String getZona() {
		return zona;
	}

	public void setZona(String zona) {
		this.zona = zona;
	}

}


To me, nothing is sadder than someone who has grown older and has learned nothing. One of the few advantages of age is that you hopefully learn a few things. The problem with getting older is that you're less willing to take chances and risks. You like routine. You go to the same restaurant. You order the same thing. You sit in the same seat. You like routine. You like to know what's coming.
On the other hand, when you're young, you're willing to take chances. You're willing to take risk. You're willing to just go for it.
God wants to use you when you're young. And God wants to use you when you're old as well.


text:
Faces of the future
36 young leaders graduate program
Jenny Bulley laughs at the banquet. - photo by Emily Saunders
Frank Reddy
Updated: April 16, 2009, 12 p.m.
A group of high school juniors graduated Tuesday night from a skills-building leadership program that gave them a thorough look at their community.
Members of the Youth Leadership Forsyth Class of 2009 received congratulations from their parents and local business and community leaders.
Forsyth County Fire Chief Danny Bowman presented plaques to the students, some of whom spoke during the reception at Windermere Golf Club.
Austin Redd of Forsyth Central High School talked to the more than 100 in attendance about the students' tours of hospitals, fire stations, parks and businesses.
"All of it benefited me greatly because I got to see the power of community in businesses and how the government of our county works," Redd said.
Several members of the Forsyth County school system and local YMCA also spoke, congratulating graduates for finishing the six-month course.
Vicky Clair, the administrative director of Leadership Forsyth, said she was happy with the graduation.
"The kids had a good time," Clair said. "We had a good turnout of people and parents."
Established in 2000, the course brings together students from public, private and home schools to shape shape lifelong leadership skills, service learning and community understanding.
It includes four half-day and two full-day sessions, as well as an orientation and evening retreat.
Sessions begin in September and run through March. Officials will begin recruiting the next class in August.
Clair said about half of Tuesday's graduates will help mentor the next group. "They're anxious to help out."
For more information about Youth Leadership Forsyth, visit www.leadershipforsyth.org.
E-mail Frank Reddy at frankreddy@forsythnews.com.


Part 5 in a series on Beverly Hills residents who have grown with the Centennial City.
"I always thought I'd get married, that I'd stop working and have a family," Dohn recalled of the dream she'd harbored since childhood. At 38, she met fellow Indianan Bernard Dohn, 12 years her senior, and the two were soon married.
"He was interesting and involved in the world's activities and was people-caring," she recalled of the man she was married to for 42 years until he died in 1990.


Each ornament measures approximately 3.5" x 3"
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On opening Sunday, Pre-College Trombonists will have an audition to determine placement in the trombone choir.
Now in his third decade at the University of Illinois, Elliot Chasanov was appointed Professor of Trombone with permanent tenure in 1991. As a soloist, Chasanov has presented recitals in many of the world's most prestigious venues including The Royal Academy of Music in London and Warsaw's Frederic Chopin College of Music. In December 2001 he was featured as trombone soloist with the Polish National Philharmonic-Bialystok and presented a solo recital in Florianka, Krakow's famed chamber concert hall. Read more about Professor Chasanov here.


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IX. španska legija (latinsko ), rimska legija, ki je delovala od 1. stoletja pr. n. št. do sredine 2. stoletja n. št..  Njena zadnja usoda ni znana, čeprav je bila predmet obsežnih raziskav. Leta 108 je bila stacionirana v Britaniji v Eboracu, sedanjem Yorku. Teoretično bi lahko bila uničena okoli leta 117  v akcijah severno od Hadrijanovega zidu. Njeni pečati na strešnikih, ki so jih odkrili v Nijmegenu na Nizozemskem, kažejo, da je bila tam stacionirana leta 121-130.  IX. legija Hispana bi lahko bila tudi legija, ki je bila po Dionovih zapisih leta 161 uničena  v vojni s Parti v Armeniji. Kakorkoli že, na seznamu legij iz leta 165 IX.legija ni več omenjena.

Zgodovina
Natančen datum njene ustanovitve ni znan, vsekakor pa je bila ustanovljena pred letom 58 pr. n. št., saj je bila na začetku galskih vojn nastanjena v Galiji in tam ostala do konca vojn.

Cezarjeva IX. legija se je bojevala v bitkah pri Draču in Farzalu leta 48 pr. n. št. in afriških vojnih pohodih leta 46 pr. n. št.. Cezar je zatem legijo razpustil in njene veterane naselil v Picenu na jadranski obali Apeninskega polotoka južno od Ancone.

Po Cezarjevem umoru leta 44 pr. n. št. je Oktavijan vpoklical veterane IX. legije, da bi zatrli upor Seksta Pompeja na Siciliji. Po Sekstovem porazu so legijo premestili v provinco Makedonijo. Leta 31 pr. n. št. se je na Oktavijanovi strani vojskovala proti Marku Antoniju in v  bitki pri Akciju. Ko je postal Oktavijan edini vladar rimskega sveta, je bila legija premeščena v Hispanijo, kjer je v letih 25–13 pr. n. št. sodelovala v obsežnih vojaških operacij proti Kantabrijcem. Vzdevek Hispana, ki pomeni "stacionirana v Hispaniji", se je prvič pojavil med Avgustovo vladavino in je verjetno nastal prav tam.

Po kantabrijski vojni je bila verjetno v sestavu cesarske armade na meji na Renu, kjer se je vojskovala z germanskimi plemeni. Ko so se Rimljani po katastrofalnem porazu v Tevtoburškem gozdu leta 9 umaknili iz pokrajin vzhodno od Rena, je bila IX. legija premeščena v Panonijo.

Invazija na Britanijo
IX. legija se je verjetno udeležila rimske invazije na Britanijo leta 43, ki sta jo vodila cesar Klavdij in general Avl Placij, saj se je kmalu zatem pojavila med britanskimi garnizijami. Leta 50 je bila ena od dveh legij, ki sta na Caer Caradocu porazili katuvelaunskega poglavarja Karataka.  Približno takrat je legija zgradila trdnjavo Lindum Colonia v Lincolnu.  Pod poveljstvom Cezija Nasika je med letoma 52 in 57 zatrla upor brigantskega kralja Venucija, v Budikinem uporu leta 61 pa je pod poveljstvom Kvinta Petilija Ceriala utrpela hud poraz, tako da so jo morali okrepiti z legionarji iz germanskih provinc. Okoli leta 71 je zgradila novo kamnito trdnjavo v Eboracu, sedanjem Yorku, kar dokazujejo njeni žigi na tam najdenih strešnikih.

Izginotje
Pogosto se govori, da je IX. legija izginila v Britaniji okoli leta 117,  četudi so poznana imena nekaterih njenih visokih častnikov, na primer Lucija Emilija Kara, ki je bil leta 142/143 guverner Arabije, ki so v legiji služili verjetno tudi po letu 120, kar kaže, da je legija obstajala tudi po tem datumu. Legija je bila uničena morda v Bar Kohbovem uporu v Judeji ali v vojni  s Partskim cesarstvom, ki je sledil tretji judovski vojni. Za nobeno od obeh trditev ni nobenega trdnega dokaza.

Zadnja dokazana dejavnost IX. legije v Britaniji je bila graditev kamnite legionarske utrdbe v Eboracu (Yorku) leta 108. Njeni kasnejši premiki ostajajo neznani. Žiga IX. legije na dveh strešnikih, ki so ju odkrili v  Noviomagu, sedanjem Nijmegenu na Nizozemskem, dokazujeta njeno prisotnost v Spodnji Germaniji, potem ko jo je  zapustila  X. legija Gemina. Ker je žige lahko  uporabljala samo legija in ne kakšna njena veksilacija, zagotovo niso povezani s kakšno njeno podenoto na renski meji, ki se je sredi 80. let udeležila Domicijanove vojne proti  Čatom.

Legija je domnevno omenjena v dve odlomkih  iz antične literature. Njene znatne izgube v Britaniji v 160. letih  omenja rimski zgodovinar Mark Kornelij Fronto, ko cesarja Marka Avrelija spominja na tragedije v preteklosti: "Zares, ko je bil na oblasti tvoj stari oče Hadrijan, so zelo veliko vojakov pobili Judi in zelo veliko Briti". Podrobnosti o žrtvah ostajajo neznane, res pa je, da je cesar Hadrijan okoli leta 122 osebno obiskal Britanijo, ker se "Britov ne da držati na vajetih". To bi lahko pomenilo, da je bil njegov obisk odziv na omenjeno vojaško katastrofo. Vojno v Britaniji je zelo verjetno spodbudila  graditev Hadrijanovega zidu.

Sredi 2. stoletja IX. legija zagotovo ni več obstajala, ker je ni na seznamu legij, ki so ga sestavili v času vladavine Marka Avrelija (vladal  161-180). Ugledni britanski zgodovinar, arheolog in strokovnjak za rimsko-britanske odnose Sheppard Frere pravi,  da so "za dokončen sklep potrebni dodatni dokazi". Miles Russell, višji predavatelj za rimsko arheologijo na univerzi Bournemouth,  kljub temu trdi,  da je "daleč najbolj verjeten odgovor na vprašanje, kaj se je zgodilo z IX. legijo ta, da se je v poznih 110. in zgodnjih 120. letih  borila in umrla v Britaniji, ko je bila dežela popolnem v razsulu".

Dodatna razmišljanja o britanski vojni med Hadrijanovo vladavino bi lahko spodbudila dva nagrobnika.  Prvi, ki so ga odkrili v Vindolandi, sedanjem Chesterholmu v Northumberlandu, je bil postavljen v spomin na Tita Anija, centurija prve tungrske kohorte, ki je bil "ubit ... v vojni" ("in bello ... interfectus"). Drugi nagrobnik, ki so ga odkrili v Ferentinu v Italiji, je bil postavljen Titu Ponciju Sabinu, ki je bil v britanski ekspediciji med drugim poveljnik oddelkov VII. legije Gemina, VIII. legije Augusta in  XXII. legije Primigenia, ki so po vojni ali celo med njo okrepili rimsko armado v Britaniji.

Sklici

Rimske legije


At the risk of horrifying my loyal worm-lovers (haha), I thought it might be interesting to offer something a little different here on the blog. This was inspired by a recent email exchange with Dan Thorne, one of my local (Ontario, Canada) customers, who just so happens to be an avid fisherman.
As much as I now love my worms, I still definitely have a serious soft spot for the live food folks and the fishing fanatics – after all, my fascination with Red Worms started well before I really knew anything about vermicomposting. I used to be an avid aquarium hobbyist and diehard angler (I still wet a line every now and again – but am definitely not much of a bait fisherman anymore).
What's really cool is that Dan was actually a guest on Bob Izumi's show at one time (although not on the episode mentioned above), and also knows just how effective these worms can be for catching Steelhead. He recently shared with me a little story about one of his Red Worm fishing days (along with some additional fishing wisdom) and I requested permission to post it here. Dan kindly agreed, and even sent me the great photo above (thanks again, Dan!).
I was fishing an opening day in late April on a very crowded river that held a large number of 5-10 pound Steelhead (migratory Rainbow Trout). The water was gin clear and the fish were extremely weary refusing all regular offerings of various colored spawn sacs, spoons and lures and even big dew worms. Luckily I had the foresight that morning to pack a couple dozen red wigglers adding to my arsenal with the hope of offering something different than everyone else.
I arrived early that morning to find more fisherman than I've ever seen at this particular spot, in fact some were actually camped overnight in order to secure a good spot to fish at sunrise. The water was ultra clear and I knew this would be one of those challenging days where the fish would be hunkered down with feeding as the last thing on their minds. I downsized my complete presentation in order to offer my bait in the most natural way possible. My first 10 drifts were made with the typical baits as used by the fisherman who now lined both sides of the river with no strikes…there's no doubt these fish were spooked.
I single hooked a red wiggler on a small #12 hook, and half way through my first drift my float disappeared and I found myself fighting a beautiful 8 pound Steelhead in front of everyone who had to quickly pull their lines in allowing me to fight this aggressive brute. Some thought I foul hooked it since they didn't seem to be biting anything….but I knew better! To make a long story short, I continued hooking one after another until I finally ran out of worms my mid-morning but not before landing and releasing another 10 or so beautiful chrome fish, not to mention the ones I battled and lost.
Don't get me wrong, these worms are not the end all but through experience I know they have produced fish when other baits haven't. I strongly believe they will hit the smaller worms purely based on natural instinct. Steelhead spend their first 2-3 years of life in the river before venturing out into the lakes, only to return every year thereafter to spawn. During these early years of growth they become accustomed to only feeding on natural food sources which include small worms that get washed into the river after rainfalls. I don't think big dew worms are as common as the smaller worms, thus my reasoning for raising them and having them on hand for just the right occasion.
This was definitely not an isolated incident as there have been many occasions I have nestled in between unsuccessful anglers and immediately hooked fish. When they ask what in God's name am I using I simply reply "worms" with no description and then move on.
My husband likes to fish with the red wigglers too, though he picks through to find the biggest ones.
What!!! You let it go?


Beautiful Townhome!! Serene views of conservation area and lake. Solid built construction with concrete block floor to ceiling. This beautiful townhome lives large with twin master bedroom suites, a living area with cathedral ceiling and wood burning fireplace, dining room, technology center and upstairs loft area. The kitchen is upgraded with granite countertops, stainless appliances including a convection oven and a sunny breakfast nook. The screened porch overlooks the lake with conservation area and is pre-plumbed for a summer kitchen. The community features a championship golf course with full pro shop and restaurant and club house, resort style and lap swimming pools, lighted tennis courts, fitness center and 24 hour manned guardhouse. BANK WILL ISSUE CREDIT TO BUYER FOR STUCCO DAMAGE ON CHIMNEY.


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About Our Faculty & Staff
Fort Lewis College Academics Schools & DepartmentsDepartmentsTheatre DepartmentAbout Our Faculty & Staff
Our Vision & History
Support FLC Theatre
Andrew Brackett
Assistant Professor of Theatre Design and Production
Technical Direction
Scenic Design
B.A. Technical Theatre and Architecture, University of Minnesota, Twin Cities, 2008
M.F.A. Theatre Design and Technology – Lighting Design, Northern Illinois University, 2018
Theresa Carson
Visiting Instructor
Dr. Ginny Davis
Chair & Professor of Theatre
Acting/Directing
Theatre Education
Theatre Management
Ph.D., Acting/Directing and Theatre Management, Texas Tech University, 1996
M.F.A., Directing, University of Houston, 1991
B.F.A., Drama Education, University of Texas at Austin, 1986
Suzy DiSanto
Adjunct Instructor in the Department of Theatre
Dance History
M.A., Dance, Mills College, Oakland, California
Teaching Credential in Laban Movement Studies, Laban Centre, London, England
Jane Gould
Costume Designer / Shop Supervisor
Graduated J. Gibson, Fashion Merchandising, Boston, MA
B.S., California State Polytechnic University, Pomona, CA
Felicia Lansbury Meyer
Senior Lecturer in the Department of Theatre
Acting for Camera
History of Modern Theatre
Theatre Directing and Production
M.F.A., Directing, American Film Institute, 1995
B.F.A., Theatre Arts, New York University, 1987
Laurel Schaffer
Adjunct Instructor of Theatre
Industry Sewing
B.A., English, Minor Dance, College of William and Mary, Williamsburg, VA
A.A. Fashion Design, Fashion Institute of Design and Merchandising (FIDM), San Francisco, CA


text:
Dissent Projects
Eyes of St. John
Bosnia Rising
Venice Classified
Russia/Chechnya Voices Of Dissent
Dissent on Demand
'BOSNIA RISING'
Dissent Project's documentary 'Bosnia Rising' centres on Bosnia's current social and economic crisis. The film sheds light on a situation affecting not only the population of Bosnia but also much of the planet.
We are proud that the Robert Schalkenbach Foundation supported this project as their vision of a world of liberty and equality; of opportunity arising from economic, social and environmental justice links closely to the message of 'Bosnia Rising'.
Click here to see the trailer.
We decided to hold our first screening of 'Bosnia Rising in Bosnia's capital of Sarajevo. Here is Reuters coverage of the night:
British actress and activist Vanessa Redgrave premiered a documentary late on Friday made with her son about a workers' uprising in Bosnia this year that typifies the pain of post-communist transition in eastern Europe.
"Bosnia Rising" centers on the fight to save a detergent factory in the northern Bosnian town of Tuzla, once a hub for the metals and chemicals industries of former Yugoslavia but now home to one in five of Bosnia's 27.5 percent registered unemployed.
The Dita factory, which before the Bosnian 1992-95 war made detergents used in households up and down the former socialist Yugoslavia, today stands idle after a failed privatization by a local tycoon. The plant is guarded around the clock by its workers who fear the owner might sell off the machinery.
The 77-year-old Redgrave, an Academy Award winner known as an advocate for the rights of workers, said the film, which she co-produced, shed light on a situation affecting not only Bosnia but much of the planet.
"It is an example of workers who suffered through privatizations that have wrecked and destroyed the economy, the European one," Redgrave told reporters in Sarajevo.
Almost as well-known for her left-wing activism as for her acting accolades, Redgrave stood for parliament as a candidate for the Workers Revolutionary Party in the 1970s and launched the Peace and Progress Party to promote human rights in 2004.
The protest by Dita workers in February ignited the worst civil unrest in Bosnia since the war, driven by simmering anger over unemployment and the shortcomings of an unwieldy system of ethnic power-sharing that has kept the peace since 1995. Rioters set fire to government buildings in several cities.
"Social justice is something people everywhere are crying for and rallying for it, organizing for it, and are determined to restore social justice," Redgrave said. She also pledged to raise funds and engage a team of lawyers to help Dita workers.
Redgrave's son, Carlo Nero, who directed the film, said the project tries "to inspire questions and provoke a thought process".
"We hope it goes beyond this screening… but that dialogue can open up with activists involved in recent protests, with all layers … of society, regardless of who they are and where they come from," said Nero.
Anger is high over the perceived corruption and aloofness of elected leaders in the country of 3.8 million people, which will hold presidential and parliamentary elections on Oct. 12.
...Keeping the unearned location value of one's property IS theft. twitter.com/TaxLandNotMan/…
About 6 months ago from Dissent Projects's Twitter via Twitter for Android
Land monopolies increase, businesses crumble, unemployment, poverty and homelessness increase and ultimately the economy collapses, as it invariably will... twitter.com/TaxLandNotMan/…
THE poet enters into himself in order to create. The contemplative enters into God in order to be created." Merton, Thomas. New Seeds of Contemplation (pp. 110-111). New Directions.
...and delivers you from human tyranny, for when you serve Him you are no longer permitted to alienate your spirit in human servitude. God did not invite the Children of Israel to leave the slavery of Egypt: He commanded them to do so...
"BUT as long as you pretend to live in pure autonomy, as your own master, without even a god to rule you, you will inevitably live as the servant of another man or as the alienated member of an organization. Paradoxically it is the acceptance of God that makes you free...
Dissent Projects ©2022
Bespoke website design | Binamic


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BLM to offer buyouts for workers who don't want to relocate
The Bureau of Land Management will soon offer buyouts to its employees. An Interior Department spokesman said the Office of Personnel Management signed off on BLM's request to offer Voluntary Early Retirement Authority and Voluntary Separation Incentive Payments. Employees will receive the offers in the...
The Bureau of Land Management will soon offer buyouts to its employees. An Interior Department spokesman said the Office of Personnel Management signed off on BLM's request to offer Voluntary Early Retirement Authority and Voluntary Separation Incentive Payments. Employees will receive the offers in the coming weeks. Interior said it will also host information sessions on these incentives for employees over the next two weeks. BLM said buyouts are an alternative for employees who don't want to relocate to Colorado or another western state.
Employee engagement across government remained stable in 2019. The latest results of the Federal Employee Viewpoint Survey show a governmentwide engagement index at 68% — the same score as the previous year. The Office of Personnel Management said it also saw small improvements in employees' perceptions of their supervisors and leaders. The Department of Health and Human Services and NASA had the highest engagement scores among agencies of their size. (Federal News Network)
The end is here for one of the worst websites in government. The General Services Administration said it met its goal of making beta.sam.gov the official source for federal business opportunities by Nov. 8. FBO.gov will officially be retired over Veterans Day weekend. GSA launched Fed Biz Opps in 2000 and the site has basically remained the same in terms of look and feel for the past 19 years. The agency has been developing and testing the new beta.sam.gov since 2017. (General Services Administration)
The National Guard is beginning to create cyber risk mitigation plans for states after some local government IT systems were attacked this summer. Twenty-two counties in Texas had their government systems stalled due to ransomware attacks. The National Guard is taking lessons learned from those incidents to shore up cyber vulnerabilities in other networks. It is also creating plans to find weaknesses in critical infrastructure and election security. (Federal News Network)
The number of bid protests federal contractors filed in fiscal 2019 dropped by 16% compared with the year before. The Government Accountability Office reported vendors filed just under 2,200 cases compared to more than 2,600 last year. Of those protests, 373 came from task- or delivery order-type contracts, which is 100 more than the number vendors filed just two years ago. GAO said the effectiveness rate, which measures how often the protestor received some sort of relief, remained steady for the fifth year in a row. (Government Accountability Office)
Federal prosecutors are charging a New York company and eight of its executives with fraud for allegedly selling Chinese security and surveillance equipment to the government. The U.S. Attorney for the Eastern District of New York said Aventura Technologies has spent more than a decade mislabeling the gear as American-made, and that the long-running scheme is a grave security concern. The equipment wound up being installed on dozens of Army, Navy and Air Force bases, along with Energy Department facilities and Navy aircraft carriers. (Federal News Network)
President Donald Trump has nominated Elaine McCusker to be the Pentagon's top financial management official. She's been the deputy comptroller and chief financial officer since August 2017. Before that, she was a senior executive in charge of resources and analysis at U.S. Central Command. McCusker would move into a vacancy created when the former comptroller, David Norquist, moved up to deputy Defense secretary in July. Since then, McCusker has been leading the comptroller's office in an acting capacity. (White House)
Senior agency records officials have a new reporting tool to assemble this year's annual Freedom of Information Act (FOIA) reports. But the Justice Department's Office of Information Policy will allow agencies to continue to use the old method of compiling the data this year if they prefer. OIP has encouraged agencies to use the new reporting tool so that it can tweak it for next year's reports. (Department of Justice)
With the holiday season about to arrive, the Postal Service is gearing up to deliver more than 800 million packages between Thanksgiving and New Year's Day. To handle increased demand, the agency is recruiting seasonal workers and working on ways to maximize its mail and package sorting equipment. In the 10 days leading up to Christmas, USPS estimates it will deliver more than 20 million packages each day. (U.S. Postal Service)
Bureau of Land Management/Federal News Network
BLM employees given timeline to decide on relocation plans
Federal Newscast Read more
Employee engagement in 2019 FEVS remains stable after tumultuous year, OPM says
After hackers held state cyber assets hostage, the National Guard is preparing for more attacks
All News Aventura Technologies bid protests Bureau of Land Management buyout Elaine McCusker Employee engagement FedBizOpps Federal Drive Federal Employee Viewpoint Survey Federal Newscast FOIA Hiring/Retention Management National Guard Office of Personnel Management Pay Pay & Benefits Postal Service Reorganization Retirement supply chain System for Award Management Workforce


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text:
Hammerin Harry
Hammerin' Harry, known in Japan as Daiku no Gen-san (大工の源さん?), is a series of platforming video games developed and published by Irem in 1990. The titles were developed and published for the arcades, Famicom, Game Boy, Super Famicom and Sony PSP platforms.
Ardy Lightfoot
Ardy Lightfoot (アルディライトフット?)[3] is a platform video game released on the Super Nintendo in…
Power Rangers Zeo Battle Racers
Saban's Power Rangers Zeo: Battle Racers was a Super NES vehicular combat video game released in September 199…
Kirbys Avalanche
Kirby's Avalanche, known in Europe as Kirby's Ghost Trap, is a puzzle video game co-developed by HAL Laborator…
Tiny Toon Adventures Buster Busts Loose!
Tiny Toon Adventures: Buster Busts Loose! (released in Japan as simply Tiny Toon Adventures) is a video game f…


This is the remake of old song halka halka suroor. Sunidhi chauhan's voice and Aishwarya rai bachchan's performance is doing justice to the new version of the song. This song is best to dance with your partner. So do check out Halka Halka lyrics and let the voice of Sunidhi Chauhan soothe your ears.


text:
Real Salt Lake focuses on defense early in training camp
Real Salt Lake head coach Mike Petke looks on against the Colorado Rapids in the first half of an MLS soccer match, Sunday, Oct. 15, 2017, in Commerce City, Colo. (AP Photo/David Zalubowski)
By Alex Vejar
· Published: January 28
Herriman • After a week in Los Angeles, Real Salt Lake returned home for its second stint of training camp Monday armed with a sense of being ahead of schedule for a team with so many new faces going into the 2019 regular season.
The club started camp last week with a short day at its training facility before embarking on a five-day dalliance of sorts to the sunnier L.A., looking to jump-start the process of becoming a team that will fare better than last season. Coach Mike Petke, in his second preseason with the team, decided to change things up a bit in furtherance of that goal.
RSL started the 2019 training camp with a focus on its defensive principles, Petke said. Last season, the team started with attacking. Part of the reason for the shift is the team's road record last year (3-11-3).
"We just wanted to have our way of our collective defensive effort from the start," Petke said.
At one point during training, four defenders were tasked with reacting to passes in unison, making sure they kept their shape and spacing depending on what side of the field the ball was on. In another that was performed just before the team took its first break of the day, the defenders focused on movement together without pressure.
The goal of these "elementary" drills, Petke said, is for the movements to become second nature for the players on the field so the coaches don't have to shout instructions during games from the sidelines about where to stand and other specifics about positioning.
While the work may seem basic for professional soccer players, Petke said it's important to get back to basics sooner rather than later. Focusing on the simpler parts of defensive principles, he said, will pay dividends throughout the season.
"If we're doing this stuff and really hammering away at it in the fifth week of preseason, then we're behind," Petke said, adding that other parts of practice involved more intricate defensive concepts.
RSL's time in L.A. ended with a scrimmage against the Pateadores Under-19 team. The match was split into 30-minute intervals and Petke tinkered with different lineups throughout. RSL won the match 10-0, Petke said.
But Petke wasn't focused on the win against a younger, less experienced team. What he liked was the way his players incorporated into the match the concepts they worked on during their time there.
Over the next week in Utah, Petke and his staff will introduce their vision of how the team will attack this season, he said.
RSL opens the Major League Soccer season March 2 at Houston.
Jordan Allen still missing
Jordan Allen, a fifth-year homegrown player for RSL, was not seen at camp Monday. Last week, before the team left for L.A., Petke said he was given "an excused day" for personal reasons.
It appears Allen's status remains unchanged. Petke said Monday that Allen is "still given permission to take care of some things."
Allen missed all of last season due to an injury.
avejar@sltrib.com
twitter Follow @AlexVReporting
Utah's Huntsman Center turns 50. What's next for it?
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