text:
package io.crate.analyze;

import io.crate.analyze.user.Privilege;
import io.crate.analyze.user.Privilege.State;
import io.crate.auth.user.User;
import io.crate.common.collections.Lists2;
import io.crate.exceptions.RelationUnknown;
import io.crate.exceptions.UnsupportedFeatureException;
import io.crate.metadata.RelationName;
import io.crate.metadata.Schemas;
import io.crate.metadata.SearchPath;
import io.crate.metadata.information.InformationSchemaInfo;
import io.crate.sql.tree.DenyPrivilege;
import io.crate.sql.tree.GrantPrivilege;
import io.crate.sql.tree.QualifiedName;
import io.crate.sql.tree.RevokePrivilege;

import java.util.ArrayList;
import java.util.Collection;
import java.util.HashSet;
import java.util.List;
import java.util.Locale;
import java.util.Set;

/**
 * Analyzer for privileges related statements (ie GRANT/REVOKE statements)
 */
class PrivilegesAnalyzer {

    private final boolean userManagementEnabled;
    private final Schemas schemas;
    private static final String ERROR_MESSAGE = "GRANT/DENY/REVOKE Privileges on information_schema is not supported";

    PrivilegesAnalyzer(boolean userManagementEnabled, Schemas schemas) {
        this.userManagementEnabled = userManagementEnabled;
        this.schemas = schemas;
    }

    AnalyzedPrivileges analyzeGrant(GrantPrivilege node, User user, SearchPath searchPath) {
        ensureUserManagementEnabled();
        Privilege.Clazz clazz = Privilege.Clazz.valueOf(node.clazz());
        List<String> idents = validatePrivilegeIdents(clazz, node.privilegeIdents(), false, searchPath, schemas);

        return new AnalyzedPrivileges(node.userNames(),
            privilegeTypesToPrivileges(getPrivilegeTypes(node.all(), node.privileges()), user, State.GRANT, idents, clazz));
    }

    AnalyzedPrivileges analyzeRevoke(RevokePrivilege node, User user, SearchPath searchPath) {
        ensureUserManagementEnabled();
        Privilege.Clazz clazz = Privilege.Clazz.valueOf(node.clazz());
        List<String> idents = validatePrivilegeIdents(clazz, node.privilegeIdents(), true, searchPath, schemas);

        return new AnalyzedPrivileges(node.userNames(),
            privilegeTypesToPrivileges(getPrivilegeTypes(node.all(), node.privileges()), user, State.REVOKE, idents, clazz));
    }

    AnalyzedPrivileges analyzeDeny(DenyPrivilege node, User user, SearchPath searchPath) {
        ensureUserManagementEnabled();
        Privilege.Clazz clazz = Privilege.Clazz.valueOf(node.clazz());
        List<String> idents = validatePrivilegeIdents(clazz, node.privilegeIdents(), false, searchPath, schemas);

        return new AnalyzedPrivileges(node.userNames(),
            privilegeTypesToPrivileges(getPrivilegeTypes(node.all(), node.privileges()), user, State.DENY, idents, clazz));
    }

    private void ensureUserManagementEnabled() {
        if (!userManagementEnabled) {
            throw new UnsupportedOperationException("User management is not enabled");
        }
    }

    private static Collection<Privilege.Type> getPrivilegeTypes(boolean all, List<String> typeNames) {
        Collection<Privilege.Type> privilegeTypes;
        if (all) {
            privilegeTypes = Privilege.Type.VALUES;
        } else {
            privilegeTypes = parsePrivilegeTypes(typeNames);
        }
        return privilegeTypes;
    }

    private static void validateSchemaNames(List<String> schemaNames) {
        schemaNames.forEach(PrivilegesAnalyzer::validateSchemaName);
    }

    private static void validateSchemaName(String schemaName) {
        if (InformationSchemaInfo.NAME.equals(schemaName)) {
            throw new UnsupportedFeatureException(ERROR_MESSAGE);
        }
    }

    private List<String> validatePrivilegeIdents(Privilege.Clazz clazz,
                                                 List<QualifiedName> tableOrSchemaNames,
                                                 boolean isRevoke,
                                                 SearchPath searchPath,
                                                 Schemas schemas) {
        if (Privilege.Clazz.SCHEMA.equals(clazz)) {
            List<String> schemaNames = Lists2.map(tableOrSchemaNames, QualifiedName::toString);
            if (isRevoke) {
                return schemaNames;
            }
            validateSchemaNames(schemaNames);
            return schemaNames;
        } else {
            return resolveAndValidateRelations(tableOrSchemaNames, searchPath, schemas, isRevoke);
        }
    }

    private static List<Privilege.Type> parsePrivilegeTypes(List<String> privilegeTypeNames) {
        List<Privilege.Type> privilegeTypes = new ArrayList<>(privilegeTypeNames.size());
        for (String typeName : privilegeTypeNames) {
            Privilege.Type privilegeType;
            try {
                privilegeType = Privilege.Type.valueOf(typeName.toUpperCase(Locale.ENGLISH));
            } catch (IllegalArgumentException e) {
                throw new IllegalArgumentException(String.format(Locale.ENGLISH,
                    "Unknown privilege type '%s'", typeName));
            }
            //noinspection PointlessBooleanExpression
            if (Privilege.Type.VALUES.contains(privilegeType) == false) {
                throw new IllegalArgumentException(String.format(Locale.ENGLISH,
                    "Unknown privilege type '%s'", typeName));
            }
            privilegeTypes.add(privilegeType);
        }
        return privilegeTypes;
    }

    private static Set<Privilege> privilegeTypesToPrivileges(Collection<Privilege.Type> privilegeTypes,
                                                             User grantor,
                                                             State state,
                                                             List<String> idents,
                                                             Privilege.Clazz clazz) {
        Set<Privilege> privileges = new HashSet<>(privilegeTypes.size());
        if (Privilege.Clazz.CLUSTER.equals(clazz)) {
            for (Privilege.Type privilegeType : privilegeTypes) {
                Privilege privilege = new Privilege(state,
                    privilegeType,
                    clazz,
                    null,
                    grantor.name()
                );
                privileges.add(privilege);
            }
        } else {
            for (Privilege.Type privilegeType : privilegeTypes) {
                for (String ident : idents) {
                    Privilege privilege = new Privilege(state,
                        privilegeType,
                        clazz,
                        ident,
                        grantor.name()
                    );

                    privileges.add(privilege);
                }
            }
        }
        return privileges;
    }

    private static List<String> resolveAndValidateRelations(List<QualifiedName> relations,
                                                            SearchPath searchPath,
                                                            Schemas schemas,
                                                            boolean isRevoke) {
        return Lists2.map(relations, q -> {
            try {
                RelationName relationName = schemas.resolveRelation(q, searchPath);
                if (!isRevoke) {
                    validateSchemaName(relationName.schema());
                }
                return relationName.fqn();
            } catch (RelationUnknown e) {
                if (!isRevoke) {
                    throw e;
                } else {
                    return RelationName.of(q, searchPath.currentSchema()).fqn();
                }
            }
        });
    }
}


text:
Chantal Akerman (1950–2015)
Director | Writer | Actress
Known for Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975), Je Tu Il Elle (1974), The Meetings of Anna (1978), No Home Movie (2015)
Jun 6, 1950 (died Oct 5, 2015)
Find more directors with Discover People.
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Limonada, limonada (2020)
Thanks Thanks See fewer
Farpões, baldios (2017)
(Short) - Thanks Thanks See fewer
Addictions (2016)
(Short) - In Memory Of, Writer (collaborating writer) In Memory Of, Writer (collaborating writer) See fewer
Porto (2016)
Very Special Thanks Very Special Thanks See fewer
Leg, Arm, Head (2016)
(Short) - Acknowledgment Acknowledgment See fewer
£1K
L'Exposition Philippe Garrel au MMCA de Séoul (Carnet Filmé: 19 décembre 2015 - 22 décembre 2015) (2016)
(Short) - Dedicated To Dedicated To See fewer
No Home Movie (2015)
Self, Cinematographer, Director, Producer, Sound, Writer Self, Cinematographer, Director, Producer, Sound, Writer See fewer
To Live Forever (2015)
Tom in America (2014)
Only Solomon Lee (2013)
The New Garden (2012)
Almayer's Folly (2011)
Director, Producer, Writer Director, Producer, Writer See fewer
Shredder (2011)
Shout Out Shout Out See fewer
On bosse ici! On vit ici! On reste ici! (2010)
(Short) - Co-Director Co-Director See fewer
Women from Antwerp in November (2008)
(Short) - Director, Producer, Writer Director, Producer, Writer See fewer
Milou and the Venusians (2008)
(Short) - Co-Producer Co-Producer See fewer
State of the World (2007)
Director (segments: Tombée de nuit sur Shanghai) Director (segments: Tombée de nuit sur Shanghai) See fewer
Down There (2006)
Self (voice), Cinematographer, Director, Writer Self (voice), Cinematographer, Director, Writer See fewer
Tomorrow We Move (2004)
Director, Writer Director, Writer See fewer
From the Other Side (2002)
Cinematographer, Director, Writer Cinematographer, Director, Writer See fewer
The Captive (2000)
Director, Writer (scenario) Director, Writer (scenario) See fewer
No Vladimir (2000)
(Short) - Supervising Producer (as Chantal Ackerman) Supervising Producer (as Chantal Ackerman) See fewer
Voyages (1999)
South (1999)
The Lost Days (1999)
Actress (voice) Actress (voice) See fewer
Fifty Fifty (1998)
(Short) - Supervising Director, Supervising Producer Supervising Director, Supervising Producer See fewer
Le jour où... (1997)
(Short) - Director Director See fewer
A Couch in New York (1996)
Director, Writer (dialogue), Writer (scenario) Director, Writer (dialogue), Writer (scenario) See fewer
From the East (1993)
Night and Day (1991)
Lest We Forget (1991)
Director (segments: Pour Febe Elisabeth Velásquez, El Salvador) Director (segments: Pour Febe Elisabeth Velásquez, El Salvador) See fewer
Histoires d'Amérique: Food, Family and Philosophy (1989)
Les trois dernières sonates de Franz Schubert (1989)
Director Director See fewer
Trois strophes sur le nom de Sacher (1989)
Seven Women, Seven Sins (1986)
Woman (segment Portrait d'une Paresseuse), Director (segments: Portrait d'une Paresseuse), Writer Woman (segment Portrait d'une Paresseuse), Director (segments: Portrait d'une Paresseuse), Writer See fewer
Golden Eighties (1986)
Director, Lyrics ("Plus rien ne compte", "Un p'tit accident", "Il pleut", "Cette nuit", "Les alcools forts", "Puisque l'amour est plus fort que tout", "Oh Lili Lili"), Writer (scenario) Director, Lyrics ("Plus rien ne compte", "Un p'tit accident", "Il pleut", "Cette nuit", "Les alcools forts", "Puisque l'amour est plus fort que tout", "Oh Lili Lili"), Writer (scenario) See fewer
La paresse (1986)
Le marteau (1986)
Mallet-Stevens (1986)
She Spent So Many Hours Under the Sun Lamps (1985)
Actress Actress See fewer
J'ai faim, j'ai froid (1984)
Paris Seen By... 20 Years After (1984)
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New York, New York bis (1984)
Les années 80 (1983)
Toute une nuit (1982)
5% de risque (1980)
L'étudiante qui ne comprend pas L'étudiante qui ne comprend pas See fewer
The Meetings of Anna (1978)
The Camera: Je or La Camera: I (1977)
News from Home (1976)
Self - Letter Reader (voice), Director, Writer Self - Letter Reader (voice), Director, Writer See fewer
Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975)
Neighbor (voice) (uncredited), Director (as Chantal Anne Akerman), Writer Neighbor (voice) (uncredited), Director (as Chantal Anne Akerman), Writer See fewer
Le 15/8 (1975)
(Short) - Actress, Cinematographer, Director, Editor, Writer Actress, Cinematographer, Director, Editor, Writer See fewer
Autour de Jeanne Dielman (1975)
Self, Editor Self, Editor See fewer
Je Tu Il Elle (1974)
Julie, Director, Producer, Writer Julie, Director, Producer, Writer See fewer
'Rameau's Nephew' by Diderot (Thanx to Dennis Young) by Wilma Schoen (1974) (1974)
Hanging Out Yonkers (1973)
(Short) - Director, Writer Director, Writer See fewer
Hôtel Monterey (1973)
Director (uncredited), Producer (uncredited), Writer (uncredited) Director (uncredited), Producer (uncredited), Writer (uncredited) See fewer
La chambre (1972)
(Short) - Elle-même - Sur son lit, Director, Editor, Writer Elle-même - Sur son lit, Director, Editor, Writer See fewer
Saute ma ville (1971)
(Short) - The girl, Director The girl, Director See fewer
L'enfant aimé ou je joue à être une femme mariée (1971)
(Short) - Elle-même (uncredited), Director, Writer (uncredited) Elle-même (uncredited), Director, Writer (uncredited) See fewer
À l'Est avec Sonia Wieder-Atherton (2009)
(TV Movie) - Director Director See fewer
With Sonia Wieder-Atherton (2003)
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Cinéma, de notre temps (1996)
(TV Series) - Director (1 episode, 1996), Self (1 episode, 1996) Director (1 episode, 1996), Self (1 episode, 1996) See fewer
Chantal Akerman par Chantal Akerman (Oct 8, 2012) Season 1, Episode 27 - Self, Director Self, Director See fewer
Tous les garçons et les filles de leur âge... (1994)
(TV Series) - Director (1 episode, 1994), Writer (1 episode, 1994) Director (1 episode, 1994), Writer (1 episode, 1994) See fewer
Portrait d'une jeune fille de la fin des années 60 à Bruxelles (Oct 1994) Season 1, Episode 3 - Director, Writer Director, Writer See fewer
Monologues (1993)
Le déménagement (Mar 30, 1993) Director, Writer Director, Writer See fewer
Letters Home (1986)
Télévision de chambre (1984)
(TV Series) - Actress (1 episode, 1984), Director (1 episode, 1984), Writer (1 episode, 1984) Actress (1 episode, 1984), Director (1 episode, 1984), Writer (1 episode, 1984) See fewer
L'homme à la valise (Sep 5, 1984) Season 1, Episode 11 - Actress, Director, Writer Actress, Director, Writer See fewer
Family Business: Chantal Akerman Speaks About Film (1984)
(TV Short) - Actress, Director Actress, Director See fewer
Lettre d'un cinéaste: Chantal Akerman (1984)
(TV Short) - Self, Director Self, Director See fewer
On Tour with Pina Bausch (1983)
(TV Movie) - Self (uncredited), Director, Writer (uncredited) Self (uncredited), Director, Writer (uncredited) See fewer
Tell Me (1980)
(TV Movie) - Self, Director Self, Director See fewer
I Don't Belong Anywhere: The Cinema of Chantal Akerman (2015)
What Is Cinema? (2013)
Chantal Akerman (2013)
Chantal Akerman, From Here (2010)
Guest (2010)
Sodankylä Forever (2010)
Valon draama (2010) Season 1, Episode 4 - Self Self See fewer
Ikuinen aika (2010) Season 1, Episode 3 - Self Self See fewer
40 x 15 (2008)
Ciném'Arte (2002)
Chantal Akerman parle de son film 'Un divan à New York' (Dec 21, 2002) Self Self See fewer
Des mots de minuit (2000)
Episode dated 4 October 2000 (Oct 4, 2000) Self Self See fewer
Le cercle de minuit (1997)
Les femmes et le cinéma: Mais qu'est ce qu'elles veulent encore (Apr 15, 1997) Self Self See fewer
Birth of a Nation (1997)
Chantal Akerman par Chantal Akerman (Oct 8, 2012) Season 1, Episode 27 - Self Self See fewer
Picture of Europe (1990)
Les ministères de l'art (1989)
Venezia: Biennale cinema - Cerimonia per l'assegnazione dei Leoni d'oro 1986 (1986)
The New Cinema (1984)
Les rendez-vous du dimanche (1976–1978)
Episode dated 12 November 1978 (Nov 12, 1978) Self Self See fewer
Episode dated 15 February 1976 (Feb 15, 1976) Self Self See fewer
Ciné regards (1978)
F comme réalisatrices (Oct 29, 1978) Self Self See fewer
Le cinéma au féminin (Jun 7, 1978) Self Self See fewer
Parlons Cinema (1977)
Chantal Ackerman (1977) Self Self See fewer
Le masque et la plume (1976)
Episode dated 25 January 1976 (Jan 25, 1976) Self Self See fewer
Archive Footage (5 titles)
Delphine and Carole (2019)
L.A. Tea Time (2019)
The Oscars (2016)
(TV Special) - Self - In Memoriam (archive footage) Self - In Memoriam (archive footage) See fewer
Días de cine (2015)
Episode dated 8 October 2015 (Oct 8, 2015) Self (archive footage) Self (archive footage) See fewer
Dai nostri inviati: La Rai racconta la Mostra del cinema di Venezia 1980-1989 (2013)

redpajama_set_name: RedPajamaCommonCrawl


Last year I went to Durga Puja, an annual celebration in honor of the Divine Mother, which is celebrated around the world. I was in Kashi Florida with my Swami and friends and we danced around the Ganga with torches, ate marvelous food and generally had a most excellent time.
The previous February I'd made a mala of ebony and skulls. This is when I learned how to make malas. I knew exactly what I wanted in a prayer bead design and I couldn't find it. I could find ebony malas and there were an abundance of skull malas but nothing that was exactly right. I took it upon myself to learn how to make prayer beads and it was such a gift that I wasn't able to find exactly what I wanted because now I am a mala wallah.
It is this same mala I have around my neck on Sunday afternoon following Durga Puja, after more delicious food prepared by a certain Swami Rudra Das, when I am packing my things for the return trip home. When I pack for a yoga weekend I am not messing around with a light duffel and make-up bag, not when sequins are called for on Saturday night. I have plenty to track down and stuff into my large suitcase, which I manage well.
Upon appraising the scene I see that I've got most everything together. I lean down to retrieve my yoga mat bag and in the leaning over my mala explodes. Now you might say, "Prana Devi, come on now. Malas don't just explode…" and wag your finger at me like you've caught me in a lie.
I say this to you; malas most certainly do explode. Also, sometimes they'll slide off your neck like a lazy snake and hit the floor. That could happen too. But on this occasion I mean this thing blew off my neck and scattered across the floor like it didn't want to leave the property when I drove off in my Dodge. I had black ebony beads caught in my hair that I shook out like victory. Skull beads fell out of the hollow of my collar-bone into my yoga mat bag. It was pandemonium and very exciting!
I scoop up what I can find. I place the sad tassel on the bed with the remainder of the beads and wander off in search of a plastic baggy. A very nice lady is in the kitchen. She looks up to see me tap dancing in the doorway. I explain my situation.
She clucks at me while she finds the bag. She is sorry for me that my mala has broken, she says.
But no! I tell her it's my understanding that when a mala breaks it is a most auspicious event. I liken it to getting enough coins in a Super Mario game and getting to level up, energetically perhaps, but it's a good sign. Perhaps whatever the theme of your sadhana (practice) has been while working with that mala has come to fruition or there is new or stronger energy coming in to support the practice in a different way (when I got home I emailed Swami just in case).
I am not the one to ask about specifics of how this works exactly, but it is grand news, if not a little sad that my favorite mala broke.
The lady is excited at this news, too, as she says she always looked at a broken mala as an inconvenience at best. Well now you know. She kindly agreed to place any errant beads left behind in a prayer room in the house, which pleases me greatly.
When I got home I placed the beads in a glass bowl so they may rest. I had another mala to work with and I didn't know what I was going to do with the broken one. I even thought of making it into something else by using pieces of it for a necklace or bracelet. Then one day I walked by the bowl and beads and felt this urge to re-string them NOW!
So I did. I have a working mala made of ebony beads and skulls that I'm going to take with me to Durga Puja again this year. I'll dance around the Ganga with torchlight reflecting on the water and I'll eat delicious prasad when the night concludes.
I was inspired to write this post because breaking is part of a malas job. It holds energy and then lets it go. It's a tool of transformation if used with that intention. When I make a mala for myself, a friend or to sell in my shop it is with the greatest care for the finished design and the components while I work with them. I focus on crafting meditation tools that are able to stand up to long use, however, they are not meant to last forever.
I am adding a restringing option to my Etsy shop so that folks who have broken malas littering their altar drawer or kitchen window (sunlight is an excellent way of cleansing stones) can see their malas back up and running. If you would like them made into bracelets or another commemorative piece of jewelry we can talk about that too.
If you have purchased a mala from me and it breaks within 60 days of receipt I will restring it for you at no charge and guarantee it for another 60 days following its repair. If your mala breaks after the 60 days the fee will apply to restringing your mala.
Please keep it dry to the best of your ability as wetting the cord, whether hemp or silk, will weaken and stretch it over time. Malas are typically worn as a necklace. Wearing your mala wrapped around your wrist for extended periods of time weakens the material. I love to sometimes wear my mala around my wrist for special classes with my Teacher and this is fine. Just be aware that it can cause strain. It is also nice to have a mala bag or box for the storage and transport of your mala. It depends on your preferences.
I am also a fan of sleeping with my mala. I like to place it near my bed or tucked under my pillow. Sleeping with your mala around your neck can be hazardous to yourself and your mala, especially if you are a busy sleeper. Keep that in mind and perhaps make or buy a little satchel in which to stow your mala beneath your pillow. Sweet dreams!
Your mala loves sunlight and moonlight (gemstones have their own preference). Cleanse your mala in the sun or beneath the silvery moon periodically. Repetition of holy names helps keep your mala clear as does taking it to darshan and kirtans 🙂 Have your mala blessed by a holy person if you can; if no holy person is available may I suggest having your cat sneeze on it.
Message me with questions. Is there anything I forgot on mala care? How do you take care of your mala?
When I was in teacher training I found a place in India from which I could order all sorts of malas. There is one in particular I still wear all the time. It has Rudraksha, crystal beads, Tulsi, Sandalwood and Lotus seeds all strung like popcorn 'round a Christmas tree. It has a blue tassel, which I am not sure is traditional but what I asked for and what they sent me.
When I ordered these malas I ordered a 27 bead Rudraksha, which is a brown seed sacred to Shiva. I ordered other stuff, too, but these items are what I want to talk about now.
I've been making malas since February. Making malas began out of necessity; I had one in mind and couldn't find it anywhere so I made it. It is awesome, too, and I took it directly to Atlanta and asked Swami to bless it. Since then, it has been broken, re-strung, re-blessed and held with love in the silence of my meditation space.
I don't take this mala out too much. It is quiet and dark much like the space in which I meditate. I like to feel the subtle energy between the beads and the soft drape of the black tassel. It's my praying mala.
Not all malas are meant to be kept in the dark. The one from India with all the different seeds on it goes out in public, gets left in the baby's bed and dropped into my purse when I'm about to teach headstands and don't want it to fall unceremoniously over my head onto the floor. It's my teaching mala.
Then there's the woobie mala. You DO know what a woobie is, don't you? A woobie is typically a blanket one uses not for warmth or cover necessarily but as something to cling to and rub for emotional support. Woobie.
On the topic of malas and also woobie, I should add for those who don't know that malas are prayer beads, typically used to count mantras or prayers so a practitioner can keep track of their practices. You know, chant this mantra for 108 times for 40 days and see what happens. See if you can't transcribe the meaning onto your bones in the process.
If this is so, then why in the hell have a mala to count anything? If 108 times 'round the mala is only the beginning, why bother counting?
This leads me back to the Theory of Woobie. The mala, much like a woobie blanket, is something we can cling to. There is something beyond even the chanting of the mantra, though. After a time of practice I think these malas hold the current of our practices so we can draw on them when we can't seem to find the resources within.
I've found that the mala doesn't even have to be one on which mantras have been said very much at all. The small hand mala I mentioned earlier, the one made of Rudraksha and with only 27 beads, stays in the same place most of the time. This mala has been known to make it to the top of a harmonium during kirtan, but for the most part it remains draped over a photo.
This mala made it to my upper arm a few nights ago. I wrapped it 'round my bicep and got in bed. I could feel the round grainy texture of those beads pressed gently into my ribs and there it remained all night. Why? I cannot say, but with tender awareness of its presence I drifted into sound sleep.
Counting mantras has been around a long time and they've been doing it all over the world. But I wonder if counting mantras is only part of the reason to use malas. I wonder if the malas don't become some sort of containment unit for Shakti, like She hides in there as an act of Grace. For in our moments of forgetting we may draw on it when our energy is low and when we need sustenance Papa John's simply cannot provide. Inherent in the design, are malas simultaneously the lasso that ropes us back onto our path and also a conduit for the current we dive into again and again?


text:
The DC Code: § 6-1306 Location in District.
The location, replacement, or expansion of chanceries in the District of Columbia shall be subject to this section.
(1) A chancery shall be permitted to locate as a matter of right in any area which is zoned commercial, industrial, waterfront, or mixed-use (CR).
A chancery shall also be permitted to locate: (A) in any area which is zoned medium-high or high density residential; and (B) in any other area, determined on the basis of existing uses, which includes office or institutional uses, including, but not limited to, any area zoned mixed-use diplomatic or special purpose; subject to disapproval by the District of Columbia Board of Zoning Adjustment in accordance with this section.
In each of the areas described in paragraphs (1) and (2) of this subsection, the limitations and conditions applicable to chanceries shall not exceed those applicable to other office or institutional uses in that area.
(1) If a foreign mission wishes to locate a chancery in an area described in subsection (b)(2) of this section, or wishes to appeal an administrative decision relating to a chancery based in whole or in part upon any zoning map or regulation, it shall file an application with the Board of Zoning Adjustment which shall publish notice of that application in the District of Columbia Register.
Regulations issued to carry out this section shall provide appropriate opportunities for participation by the public in proceedings concerning the location, replacement, or expansion of chanceries.
A final determination concerning the location, replacement, or expansion of a chancery shall be made not later than 6 months after the date of the filing of an application with respect to such location, replacement, or expansion. Such determination shall not be subject to the administrative proceedings of any other agency or official except as provided in this chapter.
Any determination concerning the location of a chancery under subsection (b)(2) of this section, or concerning an appeal of an administrative decision with respect to a chancery based in whole or in part upon any zoning regulation or map, shall be based solely on the following criteria:
The international obligation of the United States to facilitate the provision of adequate and secure facilities for foreign missions in the Nation's Capital;
Historic preservation, as determined by the Board of Zoning Adjustment in carrying out this section; and in order to ensure compatibility with historic landmarks and districts, substantial compliance with District of Columbia and federal regulations governing historic preservation shall be required with respect to new construction and to demolition of or alteration to historic landmarks;
The adequacy of off-street or other parking and the extent to which the area will be served by public transportation to reduce parking requirements, subject to such special security requirements as may be determined by the Secretary, after consultation with federal agencies authorized to perform protective services;
The extent to which the area is capable of being adequately protected, as determined by the Secretary, after consultation with federal agencies authorized to perform protective services;
The municipal interest, as determined by the Mayor of the District of Columbia; and
The federal interest, as determined by the Secretary.
(1) Regulations, proceedings, and other actions of the National Capital Planning Commission, the Zoning Commission for the District of Columbia, and the Board of Zoning Adjustment affecting the location, replacement, or expansion of chanceries shall be consistent with this section (including the criteria set out in subsection (d) of this section) and shall reflect the policy of this chapter.
Proposed actions of the Zoning Commission concerning implementation of this section shall be referred to the National Capital Planning Commission for review and comment.
Regulations issued to carry out this section shall provide for proceedings of a rule-making and not of an adjudicatory nature.
The Secretary shall require foreign missions to comply substantially with District of Columbia building and related codes in a manner determined by the Secretary to be not inconsistent with the international obligations of the United States.
Approval by the Board of Zoning Adjustment or the Zoning Commission or, except as provided in § 6-1305, by any other agency or official is not required:
For the location, replacement, or expansion of a chancery to the extent that authority to proceed, or rights or interests, with respect to such location, replacement, or expansion were granted to or otherwise acquired by the foreign mission before October 1, 1982; or
For continuing use of a chancery by a foreign mission to the extent that the chancery was being used by a foreign mission on October 1, 1982.
(1) The President may designate the Secretary of Defense, the Secretary of the Interior, or the Administrator of General Services (or such alternate as such official may from time to time designate) to serve as a member of the Zoning Commission in lieu of the Director of the National Park Service whenever the President determines that the Zoning Commission is performing functions concerning the implementation of this section.
Whenever the Board of Zoning Adjustment is performing functions regarding an application by a foreign mission with respect to the location, expansion, or replacement of a chancery:
The representative from the Zoning Commission shall be the Director of the National Park Service or if another person has been designated under paragraph (1) of this subsection, the person so designated; and
The representative from the National Capital Planning Commission shall be the Executive Director of that Commission.
Provisions of law (other than this chapter) applicable with respect to the location, replacement, or expansion of real property in the District of Columbia shall apply with respect to chanceries only to the extent that they are consistent with this section.
Prior Codifications 1981 Ed., § 5-1206. Effective Dates For effective date of amendment made by title II of Pub. L. 97-241, Historical and Statutory Notes following § 6-1301. Delegation of Authority Delegation of authority under Law 97-241, see Mayor's Order 83-106, April 28, 1983. DC CODE § 6-1306 Current through December 11, 2012
(Aug. 24, 1982, 96 Stat. 286, Pub. L. 97-241, § 206.)


C & H Photo, formerly Nelson Photo in La Jolla, has acquired a new business partner and added a speciality.
"It's business as usual with the same quality of service and the addition of a specialty — underwater photography," said Leon Chow, who joined forces — and initials — June 1 with David Hinkel, owner of Blue Abyss Photo in Escondido, to create C & H Photo at 7720 Fay Ave.
"I'm able to charter my ship into different territories now," said Chow.
Now, he added, he has a whole new world to explore both photographically and occupationally.
"It's really evolved quite a bit since digital, which has made it a lot easier to get into and to get instant feedback (seeing photos)," he said.
Chow said C & H would continue to provide all the services it did as Nelson's.
With the addition of an underwater division in the store, all supplies needed to shoot beneath the waves, including surf camera housings, will be available for purchase.
"It's something we needed in Southern California," said Chow adding it doesn't hurt that C & H is just a couple blocks from the ocean.
C & H intends to teach classes on underwater photography to educate the public so they can take better pictures, he added.
Store hours are 9 a.m. to 5:30 p.m. Monday through Saturday.


North Side Green Party | Live Green, Vote Green!
The Illinois Green Party held a state-wide meeting over the weekend. The event, which was open to all members, took place at the United Electrical Workers Hall (UE) on Ashland Ave. Attendees were treated to an opportunity to see UE's historic murals. The State Green Party held a series educational and decision making sessions.
Oilprice.com has a story demystifying fracking. Fracking is an enviromentally destructive process for extracting oil from shale, a dense rock composed mainly of fossilized mud.
The Achiles heel of the fracking process is its high depletion rate. Oil wells created by fracking start drying up within a year or two.
Fracking is an expensive process. The costs of fracking combined with the short life span of the wells keeps gas prices high.
Reports are surfacing that the IMF may urge EU members to tax savings accounts. The proposed one time tax on deposits would set at 10% of account balance.
Impact of the new tax would fall primarily on working and middle class families. The wealthy would also be taxed, but since their assets are more diversified, the impact would be much less.
Is Libya a "Failed State?"
The Greens have been aware for a long time that much of what appears in our mainstream press seems consists to consist of press releases copied verbatum from government and corporate sources. Much of the rest seems to consist of fairy tales.
Read more about Is Libya a "Failed State?"
Federal research labs are saving millions with an innovative approach to computing based on open source software.
It's called Scientific Linux. It's an alternative to Microsoft Windows which was developed right here in Illinois. It's available free of charge to the public.
Already, 140,000 people are using it. The State of Illinois, Cook County Government, and the City of Chicago are not among those saving money. . .
Obamacare, more properly known as the Affordable Care Act, started operating a nationwide network of exchanges on October 1.
So far the system doesn't appear to be functioning very well. The problem appears to be political. Millions of Americans are blocked from completing an application for health coverage. The program logic which operates the Exchanges doesn't know how to deal with people who are officially considered not part of the work force.
On this date in 1994 the US and China signed a nonproliferation treaty.
Writing in Rolling Stone, Matt Taibbi focuses on "pension reform." Read Looting the Pension Funds in the September 26 Rolling Stone.
A powerpoint presentation on the Trans Pacific Partnership (TPP) took place Monday. Josh Wise, Executive Director, Illinois Fair Trade Coalition was the presenter. The hall at Loyola Park was filled standing room only.
At their Wednesday meeting, the North Side Greens hammered out a formal position statement in opposition to Obama Administration proposals for war in Syria.
The Assad regime is accused of using chemical arms in violation of international law.The Obama Administration wants to initiate a war on syria in response. There are now millions of refugees, according to the administration, and war is the only answer.
Members of the North Side Greens have been discussing possible responses to reports that the Syrian government has used nerve gas on its own people.
Note: The North Side Greens will be discussing an alternative response at their next scheduled meeting, Wednesday, September 9, 2013. - Admin.
The American Legislative Exchange Council (ALEC) is backed by some of the largest corporations in the US. Their agenda is that of the extreme right: privatization, attacks on the EPA, an end to retirement security. They are meeting in Chicago on Thursday, August 8.
AFSCME, teachers, community people, retirees plan to be there. They'll be carrying picket signs. The North Side Greens will be there too. The event starts at 12:00 noon, at the Palmer House, 17 East Monroe.
Pope Francis has just up-ended the entire discussion on gay rights. "Who am I to judge?" he asked.
Read more about Pope Francis: Who am I to judge?
Calling US surveillance programs "Orwellian," whistle-blower Edward Snowden's father has appealed to President Obama to call off the manhunt.
A problem with much of the debate about economic problems is that the needs and realities of middle class families are ignored. Here is a story about family friendly economics.
Tom Hayden has a story about Jerry Brown's Energy Diplomacy.
While the US seeks to project power in the oil-rich South China Sea, California is pushing for a race to conserve energy. Brown is seeking to persuade both US and China to move in the direction of sustainability.
A majority of the US public believe that scientists do not agree on the causes of global warming. Among scientists who are involved in researching climate, the opposite view prevails.
A new paper shows a 97% consensus among working scientists that global warming is caused by human activity.
A report has surfaced that Greek public radio and television have been shut down. The Greek government is reportedly angry because the stations aired criticism of the governments's austerity policies.
Austerity policies were imposed on the Greek government by the European Central Bank and the IMF as a condition of bailout loans.
The Illinois State Legislature adjourned on May 19 without taking action to reduce the pensions of retired civil servants. A special conference committee was established to look at competing proposals. The committee's job, as they understand it, will be to determine which proposal leaves retirees with the lowest overall income. Short shrift for any constructive proposal.
New research into a very old technology could bring hope in the battle to avert global warming. The work was done by researchers from MIT and the University of Illinois, and it could produce major changes in manufacturing technology. They have discovered a better way to produce high quality steel. The new process produces zero green house emissions, and could lower production costs.
Conventional iron production involves production of coke from coal. Enormous quantities of carbon dioxide as well toxic by-products result, a problem Greens have long recognized.


Three different kinds of believers are living the Christian life and must relate to each other: the weak, the strong, and the legalist. The weak has no knowledge of his liberty in Christ; the strong has the knowledge and embraces the knowledge; the legalist has been given the knowledge, but maintains a previous mindset or a current pious mindset, rejecting the idea and implications of liberty. He moves from being a weak believer to being a legalistic believer.
When the weak believer rejects his freedom in Christ, he also does not accept it for others. When freedom is not granted, a judgmental attitude develops. And when he judges, it is a legalistic judgment, condemning others for doing what is their right to do. Legalistic Christians can be troublesome, aggravating, and exasperating. They judge with a judgment that is vicious and pious, thinking all the while they are spiritual. The strong must not seek to please the legalistic person. Jesus did not.
Limitations placed on the strong believer in the New Testament were not placed on him so he would have to honor the legalism of a brother, but to honor the genuine concern of a brother based upon his previous practices associated with his worship and lifestyle, either in Judaism or paganism.
The limitations focus on the concern of a weak brother because of his pre-believing mindset that has been brought into his believing life; he has not grown sufficiently, become knowledgeable, and come to understand what he has and who he is in Christ. The strong is not to despise the weak nor is the weak to despise the strong, neither judging the actions and motives of the other. Kindness is to be shown to the legalistic brother, but it is a one-way street if one seeks to meet his stipulations.
Weakness cannot be used by one believer to justify manipulation of, or dictation to, another believer regarding that believer's manner of life. Weakness cannot be used to denounce or censor others. It cannot be used as a basis to forward one's own concept of spirituality. For one to know enough to claim that he is weak or his conscience has been wounded reveals that the person is not a weak brother but a legalistic brother. To be able to make such a claim reveals more than a cursory knowledge of Scripture.
Manifestly, the apostle is treating of the regulation of the Christian's conduct with reference simply to the prejudices of the weak in faith; and his directions are to be considered not as prescriptions for one's entire lifetime, even to promote the good of men of a large scale, but simply as cautions against the too free use of Christian liberty in matters where other Christians, through weakness, are not persuaded that such liberty is divinely allowed. How far the principle involved in this may be legitimately extended, we do not inquire here; but ere we consider that question, it is of great importance to fix how far it is here actually expressed, and what is the precise nature of the illustration given of it (135).
A sampling of the commentaries of Romans and Corinthians reveals hardly any attention given to the topic of how long deference should be shown to the "weak." The above two quotes are the exception.
There is a definite difference between a "weak brother" and a "legalistic brother"; Christian liberty is to be conditioned by weakness, not limited by legalism. It is not mandatory for a believer to limit his freedom for a lifetime, just to please or pacify a so-called "weak brother," who is not really weak but is legalistic and determined to force others to submit to his peculiar understanding of what constitutes sanctified living.


Wendell Berry's book, Jayber Crow, has been described as "An almost perfect fiction, a sublime meditation on how irrevocable loss is redeemed through a renewed sense of kinship with the land and the past." This narrative covers many issues that are important to Berry. It's a great primer for first time Berry readers, and it's a joyful return to well loved characters and concepts for those who have journeyed before with Berry to the quaint town of Port William. Interested or have questions? Contact Pastor Mike.


text:
February 26, 2009 Music » Music Features
From punk roots in Iowa farmland, singer/songwriter re-kindles spirit
By Chris Parker
It took almost a decade, but at 31, William Elliott Whitmore is finally a free man.
While the Iowa farmer turned musician has always loved to sing, he didn't see it as a future so much as a mission. With the completion of his musical trilogy " 2003's "Hymns for the Hopeless," 2005's "Ashes to Dust," and 2006's "Song of the Blackbird" " Whitmore thought he'd be finished.
"I thought, 'I'll just plant my garden and be a carpenter,'" he said from his farm in Lee County, Iowa. "I'd said what I had to say. I never wanted to write just for the sake of writing. It turns out I had a lot more to say."
Whitmore gets to speak his mind with his recent release, the politically tinged "Animals in the Dark." The album traces the course the country's taken the last eight years, on tracks like the leader-bashing "Old Devils"; the exultant, forefather-hailing "Hard Times"; and the martial war cry of "Mutiny." Whitmore's distinctive gospel-blues howl sounds weathered enough to belong to a man twice his age, lending a timeless element that dovetails nicely with his banjo-wielding, country-blues Americana.
PUNK-ROCK ROOTS
While his previous albums were more personal and inward, "Animals" owes its political fury to Whitmore's punk-rock roots. He discovered Thrasher magazine as a teenager, and cited the skateboarding publication as "a window into an outside world I didn't know existed," which compelled a young Whitmore to drive the tractor to a nearby town in search of a slab of pavement on which to skate. Through skateboarding, he discovered bands like the Minutemen and Bad Religion " groups with ideas and spirits that deeply impacted him and connected to the blues music on which Whitmore grew up.
"It's just a sped-up version on electric guitars. When done correctly, it's expressing the same sentiments the blues was " so it wasn't that far of a leap," he said.
Whitmore always admired great voices like Ray Charles, Frank Sinatra and Mavis Staples, and adopted many of their musical mannerisms. But just as much vocal credit goes to Camels and the DIY punk touring he cut his teeth on, where he screamed to compensate for lack of amplification or a backing band.
"Singing every day and smoking a lot, I developed this textured thing," he said. "I'm still not a very good guitar player of banjo player. My voice is my main asset; it's all I got. I try to use it for good and not evil."
Whitmore might have remained a carpenter and never made music had tragedy not cut a swath through his family when he was in his late teens. Turning to music for solace, he began composing songs to express his feelings of loss, eventually conceiving an autobiographical, three-part story to express and exorcise his emotions.
"It was basically how I dealt with all that stuff instead of jumping off a bridge," he said. "Finishing the album cycle was cathartic. It felt good to have those things off my chest. That's one of the beauties of music: It can be a very healing thing "¦ I feel like I'm a pretty happy guy these days, and I have music to thank for that." "Chris Parker
Speaking of Live Music Previews
Now in its 20th year, Blue Door's annual Woody Guthrie tribute fetes folk's finest, from California to the New York Island
Powerhouse rockers Emit issue intelligent anthems as they hone their skills through higher education
Someone Still Loves You Boris Yeltsin hails from Missouri, exports power pop
Tags: Music Features, Live Music Previews
More Music Features »
More by Chris Parker
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Driven to direct


text:
Friday, Jan. 21, 2022 | Today's Paper | 80.348°
Police looking for 2 noncompliant sex offenders
By The Garden Island | Wednesday, May 9, 2012, 11 p.m.
LIHU'E — Kaua'i Police Department on Wednesday reported that 23 noncompliant sex offenders have been arrested in a wide search recently, and is asking the public to assist in locating two others.
Police are looking for Jordan K. Valente, age 40 of Anahola, and Brian K. Lopes, age 56.
Both men have failed to keep KPD informed of their current whereabouts.
Lopes was last known to be homeless in the Hanam'ulu area, and police believe he may have recently fled to O'ahu.
"During a check of the Attorney General's registered sex offender database, it was discovered that there were a number of noncompliant sex offenders," said Deputy Police Chief Michael Contrades. "The Kaua'i Police Department and the Prosecuting Attorney's office felt strongly that the issue needed to be addressed to ensure the safety and well-being of our community."
The search and arrests are a result of a special joint investigation aimed at locating noncompliant registered sex offenders. The mission was initiated by the police department and included the help of the Office of the Prosecuting Attorney and the state Department of the Attorney General.
"Registered sex offenders are required to inform law enforcement of their whereabouts," stated Police Chief Darryl Perry. "And we want to send a very clear message that if you do not comply with the laws in place, we will find you and hold you accountable."
According to state law, registered sex offenders must keep their registration information, including their contact information, updated and accurate. Failing to do so is a Class C felony, punishable by up to five years imprisonment for each violation.
"Non-compliant and undocumented sex offenders pose a significant danger to the community," said Prosecuting Attorney Shaylene Iseri-Carvalho.
"Ensuring compliance and bringing these offenders to justice will continue to be a top priority."
The special mission was assigned to KPD's newly formed Fugitive Apprehension and Strike Team that focuses on capturing wanted individuals. The operation has been ongoing for the past five months and F.A.S.T. vows to keep searching until the last two subjects are in custody.
The Hawai'i Criminal Justice Data Center, an agency of the state Department of the Attorney General, keeps a public listing of all registered sex offenders in the state. To search for a registered sex offender, visit the HCJDC website at www.ehawaii.gov/sexoffender.
Anyone with information on Valente or Lopes is urged to contact Lt. Trent Shimabukuro at 241-1638 or Kaua'i Police Dispatch, 241-1711.
$37.5M released for transportation projects
Mahelona Hospital Auxiliary helps aspiring medical field students


White Wine from a 5 Star Halliday Rated Winery Offers & Coupons. Unbeatable Daily Offers on Ouffer.
The bouquet features aromas of muted tropical fruit, with a vivid, rich palate of peach, citrus, and subtle oak characters. It has a clean finish with a hint of lime.
The bouquet features aromas of green apple, pineapple and tropical fruit and the palate is fruity and sweet, balanced by an underlying refreshing citrus zest. It finishes clean with a subtle honey dew flavour.


Australian Health Humanitarian Aid (AHHA) was established in Australia in 2003 as a non-profit charity organisation. It changed its name from Vietnam Vision Project in 2015 to reflect the expanded scope of its charity work.
AHHA is often involved in raising fund for emergency relief such as the Nepal earthquakes, bushfire in Victoria and the Blue Mountains in NSW, flood relief in Queensland & Vietnam, typhoon Haiyan in the Philippines, Braeside Hospital in Fairfield, Miracle Baby Foundation and many other community projects.
I encourage you to explore our website for more information about AHHA's projects, activities and upcoming events.
Please contact us on how to get involved today.
As a nonprofit organization and an Australian registered charity, AHHA deeply values the trust that has been placed in us. Partners, supporters and donors trust us to use their funds to carry out humanitarian projects. To safeguard this critical trust, AHHA is committed to best practices in governance, accountability and transparency. This commitment exists at all levels of the organization.


text:
Q: html5 webcam send last 5 seconds I'm trying to make a program that keeps continuously the last 5 seconds of recording the webcam (continuos frame recording like security camera). And once you click on a button, send the video to the server (It would be interesting through POST).
Does anyone know what technology I can use? It only occurs to me:

*

*Read the camera.

*Draw it on a canvas.

*Make a queue with each frame of the canvas where:
a. If the queue is smaller than 5 seconds, it keeps accumulating.
b. If the queue is greater than 5 seconds, eliminate each step,
delete the oldest frame and add the new one.

*Send the data to server. Can you compress in a video format to save space?
But the alternative is to send a list of base64 images.
Do you see any other technology better than this? I also have to ensure a camera quality, so streaming is not a solution
Thanks!
EDIT:
The problem I have now is that I have an imagedata array, I would like to convert it into a mpeg or some video format to be able to compress it better and send to server.
HTML:
<html>
  <body>

        <video id="video" width="640" height="480" autoplay></video>
    <canvas id="canvas" width="640" height="480" style="display: none;"></canvas>

  </body>
</html>

Javascript:
var FPS = 5;
var NUM_SECONDS = 5;
var video = document.getElementById('video');
var canvas = document.getElementById('canvas');
var context = canvas.getContext('2d');
var queue = [];
var enableWrite = true;
// Get access to the camera!
            if(navigator.mediaDevices && navigator.mediaDevices.getUserMedia) {
                // Not adding `{ audio: true }` since we only want video now
                navigator.mediaDevices.getUserMedia({ video: true }).then(function(stream) {
          video.src = window.URL.createObjectURL(stream);
                    video.play();
          setInterval(function() {getFrame(video); }, 1000/FPS);
          });
            }
function getFrame(video){
  if(!enableWrite) return;
   context.drawImage(video, 0, 0, 640, 480);
   if(FPS*NUM_SECONDS <= queue.length){
     queue.shift();
   }
  queue.push(context.getImageData(0, 0, context.canvas.width, context.canvas.height));
}

function save(){
  enableWrite = false;
  var canvasSave = document.createElement("canvas");
  canvasSave.width = canvas.width;
  canvasSave.height = canvas.height;
  var contextSave = canvas.getContent("2d");
  contextSave.drawImage()
  enableWrite = true;

}

https://codepen.io/adriaciurana/pen/yqLXMX?editors=0010#0

redpajama_set_name: RedPajamaStackExchange


text:
Telma Alexandra Pinto Monteiro, OM (Almada, 27 de desembre de 1985) és una judoka portuguesa, que ha aconseguit diverses medalles en competicions internacionals, tals com els Campionats Europeus o els Campionats mundials. Ens els Jocs Olímpics de 2016, celebrats a Rio de Janeiro, Montero va aconseguir la seva primera medallas olímpica, adjudicant-se el bronze en la categoria de –57 kg. A nivell de clubs, va començar la seva carrera al Construções Norte/Sul, fins que el 2007 va marxar al Benfica.

Referències

Judokes europees
Esportistes portuguesos als Jocs Olímpics d'estiu de 2004
Esportistes portuguesos als Jocs Olímpics d'estiu de 2008
Esportistes portuguesos als Jocs Olímpics d'estiu de 2012
Medallistes en judo als Jocs Olímpics d'estiu de 2016
Esportistes portuguesos als Jocs Olímpics d'estiu de 2016
Esportistes portuguesos als Jocs Olímpics d'estiu de 2020
Medallistes als Campionats del Món de judo de 2014
Medallistes als Campionats Europeus de judo
Esportistes lisboetes
Almada
Persones del districte de Setúbal

redpajama_set_name: RedPajamaWikipedia


Andrei Peteleu plays the position Defence, is 26 years old and 184cm tall, weights kg.
In the current club CFR Cluj played 3 seasons, during this time he played 57 matches and scored 1 goals.
How many goals has Andrei Peteleu scored this season?
In the current season Andrei Peteleu scored 0 goals.
In the club he scored 0 goals ( Liga I, Europa League , Champions League). Andrei Peteleu this seasons has also noted 1 assists, played 776 minutes, with 6 times he played game in first line.
Andrei Peteleu shots an average of 0 goals per game in club competitions.


Juggling life as a ceramicist alongside careers in modelling, acting and singing is not that common. But then Joy Smithers has not had a regular sort of life. The Sydney-based creative is perhaps most well known for her roles in films and TV series such as Bangkok Hilton, The Flying Doctors and Home and Away, as well as a stint as a co-host on Good Morning Australia. However, alongside these public forays Joy was also behind the successful ceramics business Mud Australia for many years, alongside her business partner Shelley Simpson. After selling her stake in that business in 2000, Joy has more recently launched Batch Ceramics. At the end of last year she exhibited at Reed's Sydney trade fair - it was her first fair in 15 years, and she's about to show her wares at the upcoming Life Instyle Sydney event. "I am very excited and nervous," Joy says. However, her ceramics are already in Neil Perry's Rockpool, and Simon Johnson stores across the country.
Joy shares her story below, and while it's longer than usual, it's an interesting insight into the life of a ceramicist, co-founder of Mud Australia and an actor, too.
Which five words best describe you? Time-poor, preoccupied, driven, tactile, enthusiastic.
How did you get your career start and what path have you taken since? At 13 years of age in response to my mother insisting I study art, I locked myself away in the filthy, abandoned and disused ceramics room at Fort Street High in Petersham as a form of teenage mutiny. This space was down a little corridor off the main art classroom - meaning that no one could see me or hear me if a class was in session. No one in the entire school did ceramics or had used that space for years until I came along and cleaned it up; it was a filthy junk storeroom.
What I didn't realise is how competent my art teacher was, a celebrated artist herself - Selwyn Smith, and I had her full attention and basically this ceramic studio all to myself for over one entire year until the other years caught on and began to take an interest in clay. Miss Smith taught me extensively and patiently how to throw clay, which is one of the great and enduring loves of my life. If it was not for her I would have none of this and Mud Australia would never have been.
I left my academic standard school in year 10 - unheard of to leave such a school before your HSC. I left to pursue modelling offers from overseas, driven by my older sister Sue who was a successful fashion model in Europe and was my stage mother. At 16 I had left home and was living in Darlinghurst and I wanted to travel overseas. My parents didn't agree so I forged my mother's signature on my passport application and jumped on a plane to Tokyo to model.
It was the first time I had been on an airplane or stayed in a hotel. I was not so brave as my big sister Sue had organised everything and it was safe and well organised. I spent weekends scouring shops, galleries and museums in search of Japanese ceramics - the history, origin and process blew my mind. It's always fascinated me that they throw clay in the opposite direction.
I lived and modelled in Japan and Europe for the next three years and studied ceramics at the University of NSW and Bondi Pavilion drop-in classes and workshops when I was back in Sydney.
I had a small but legitimate resume as an actress due to support roles in Aussie films. But I was so tired of people remarking "she's good at acting for a model" so I quit modelling to pursue life as an actor. To avoid the dole queue I found some jazz musicians and we formed a jazz standards cover band called "Joy Joye and the Cole Boys". This lead to a recording contract with Alberts Records then another with EMI, an ARIA and a pop hit in Sweden and a gig for 18 months as backing vocalist for the band Eurogliders. Acting work fitted in between.
I have a history of working as a performer but those who have known me in any capacity on a personal level would know I am a clay die-hard. In 1989 I applied for the National Art School in the three-year ceramic diploma. I was accepted into the course on my ability of my drawing and not for my ceramic portfolio, which was a blow to my ego but regardless I was "in" and incredibly proud and beyond excited.
I had just finished filming the miniseries Bangkok Hilton and had an opportunity to travel to the US to promote the project. I had meetings in LA, auditioned for roles, landed a great LA agent and once I returned to Australia I had many US projects that demanded I make a decision between acting work in LA or going to art school for the next three years. I was 25 and as I had been working since age 13, had many wonderful moments in the spotlight and now was more excited about clay than acting. The uproar from friends, family - the chorus of disapproval - everyone was in agreement, I was insane to consider a life in clay. So I moved to LA for the next 12 months.
I found a studio space with other potters where I could throw clay and fire my wares. I made large hand-built teacups in my sunny flat in Pacific Palisades. But I knew I had made the wrong decision moving to LA. I didn't like the politics of the US and I was interested in acting as an art form not glorified modelling.
When my then husband came over to visit we conceived and I had a good excuse to return home to Sydney. Once my eldest was born I set up a little hole in the wall studio with a kiln and a wheel in my backyard in Rose Bay. When my daughter was an infant I bought a house in the Blue Mountains and set up a studio there joining the Blue Mountains Potters Society.
I was hosting Good Morning Australia with Mike Hammond. Twelve hours of live TV a week and I had to keep a Sydney address for Monday to Friday so we took a flatmate - a girl Shelley Simpson who was a restaurant manager. We became firm friends and after a year or so as house mates she suggested we start a business - me designing and making, her marketing and admin. When we were still flatmates I had been talking about starting to sell my ceramics and had registered the business Common as Mud. At first I hand threw on my kick wheel. We sold everything though. But when I went away for acting jobs that made it hard. It was also exhausting throwing half a tonne of clay a week.
We moved studios several times growing the business each time, employing more staff but it wasn't until we met Carol Cherry, who owns Urban Oasis, and took her on as our agent that it all changed. Carol insisted we call ourselves Mud Australia. She got us an audience with magazines and food stylists, including Donna Hay who was just starting out. Donna's second book with Marie Claire was like my personal portfolio as she used our ceramics so extensively. Once we started exhibiting at trade fairs we were set.
All the while I was acting and had during this time become a single parent - it was exhausting. I departed Mud after seven years of operation. We were exporting to eight countries and had nine employees, not including ourselves. I sold to Shelley in the year 2000 and she has grown Mud into the wonderful business it is today.
I learnt a lot about business with Mud and made a lot of mistakes too but when Channel 7 made me an offer to join as a regular cast member on the TV soap All Saints there was my exit ticket. Later I began to make documentaries on the plight of Asian children and mothers living with HIV. I started an education program and fundraiser for HIV research called Shades 4 AIDS, which was launched in 2007 by the then education minister Verity Firth. This lead to my involvement with a group of like-minded people and we started an NGO in the rice bowl in Cambodia - HFCC - Hope for Cambodian Children foundation, an AIDS charity. We primarily stop mums passing the virus to their unborn child. To date we have a 100% success rate. After eight years as deputy chair of HFCC I stepped down in November so I have the time to invest in Batch.
I built myself a studio in 2012 when I returned from filming Mad Max in Africa and started working on a sample range of ideas I have had kicking around for years. I have a massive catalogue of work in my head that I will work through from now on. I literally ran into Neil Perry on the street and he remembered me from Mud and asked if I was still producing ceramics. Divine intervention - such timing.
I have a career as a voiceover artist, a legacy from all those years singing. So I daily go from covered in clay to quick clothing changes and racing off to do voice work but it all seems to fit. I have one studio assistant three days a week so I am often solo; I like the peace. When it's busy I have two to three more assistants I can pull in as need be. I really love to collaborate. That's why I love acting. That's why I love clay. So many wonderful creative funny people have walked through my studio since I started Batch.
What's the best lesson you've learnt along the way? My only rule is I don't tolerate or work with people I don't like. For me it's about the journey and the creative process and less about the money. You can't put a dollar figure on your happiness.
What's your proudest career achievement? I am blessed to have come full circle. I feel like the most authentic version of myself when I am making. I call myself a "maker". I think the love and happiness I feel when I am making actually somehow goes into each piece. It resonates. It's how I feel about my work. Also, I have a horror feature film due to shoot later this year and I am so thrilled to have worked on Mad Max 4: Fury Road with 10 Oscar nominations as I had a role in it as an older tough chick warrior. I took all of my kids and a nanny and we went to film in Namibia for four months in 2012. A highlight of my work life would be Fury Road. Having that adventure with my children in tow, working day in day out with mostly Tom Hardy and being allowed to perform my own stunts in the Namibian desert, acting with Charlize Theron - one of my idols - is a hard act to follow.
What's been your best decision? Have kids.
Who inspires you? Kind people inspire me. Kindness in any form inspires me.
What are you passionate about? HIV, clay, my family, my boyfriend, food, renovating.
What dream do you still want to fulfil? Study ceramics in Japan.
What are you reading? Useful by Debra Oswald.


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Critical steps to ending violence against women in Bangladesh
On 14 March 2017 14 March 2017 By DFATIn Aid, Human Rights
By Julia Niblett, Australian High Commissioner to Bangladesh
When Maneja was attacked with acid, her dreams of a bright future faded. Ostracised from her community, traumatised by violence and shamed by the disfigurement, she retreated to an isolated existence, living rough and unable to earn enough to feed her son and herself.
Since moving to Bangladesh eight months ago, I have been deeply moved by stories such as Maneja's. There has been enormous economic and social progress in this country over the last 20 years, but inequality remains an issue, particularly when it comes to women and girls.
There are many courageous Bangladeshi women leading and advocating for empowerment, including Prime Minister Sheikh Hasina herself. Yet, in a deeply religious and patriarchal society, too many women and girls continue to face a brutal reality. A 2015 report by the country's Bureau of Statistics found that 50 percent of the 20,000 women interviewed had been physically tortured, while 27 percent said they had been sexually abused.
Runa Laila, Program Associate, Acid Survivors Foundation
The Australian Government works with a range of partners to address issues of violence and advance the status of women in Bangladesh. Specifically, we support the Acid Survivors Foundation (ASF), a non-governmental organisation that rehabilitates victims of acid attacks and raises awareness about the impact on the individual and the community. Since 1999, ASF has helped close to 4,000 victims to access medical support, psychological counselling and skills-based training. Australian funding directly supports programs that build the skills of survivors, increasing their income generating opportunities.
Alongside the support to ASF, Australia has a strategic partnership funding arrangement with BRAC, which is not only the world's biggest NGO but ranked number one NGO in the world for the second year in a row by Geneva based NGO Advisor. Addressing violence against women is a key focus for BRAC. One key role it has is to manage the secretariat of the 'Girls Not Brides' alliance, a global partnership of over 600 civil society organisations committed to ending child marriage in Bangladesh and enabling girls to fulfil their potential.
Rehana Akhter, Technical Assistant, Tuberculosis Controlling Project, BRAC
BRAC has the largest paralegal volunteer program in the world, delivering legal aid services to survivors of gender-based violence through over 400 clinics across Bangladesh. BRAC is also working with the Ministry of Women and Children's Affairs to operationalise the Government's national Violence Against Women database.
With 52 per cent of girls marrying before they turn 18, Bangladesh has the highest rate of child marriage in South Asia and fourth highest in the world. To help keep girls in school (and data shows that this delays the age of marriage), the Australian Government supports the Bangladesh Government's Primary Education Development Program, reaching 20 million school children across the country, to improve completion rates (especially for girls) and learning outcomes.
The Australia Awards program has seen strong take up from both men and women, with 50% of scholarships in each intake awarded to women. In 2017, over 150 study opportunities are expected to be offered, supporting greater leadership opportunities among Bangladesh's growing female workforce. The Australia Awards 'Women in Leadership Alumni Network', launched in 2015 is also helping women alumni connect across the region to strategize on leadership in their respective sectors and organisations. I am proud to participate in discussions and share stories with this group.
Tahmina Islam, Program Associate, Acid Surviovirs Foundation and grade 11 student Masuda Akhter Moni
Our Dhaka office has placed gender equality at the heart of its development program, its advocacy efforts and its public diplomacy activities. To mark 16 days of activism against violence – with a focus on raising funds for ending violence against women – the High Commission hosted a Craft Bazaar where women like Maneja, and others supported by ASF, came and sold their goods. These women are true survivors. Meeting with them and supporting their artistry was a great honour.
A key target under the Sustainable Development Goals for gender equality is the elimination of all forms of violence against all women and girls by 2030. This is a very powerful and challenging mandate for the world to deliver. I am proud to say Australia is taking up this challenge head-on in Bangladesh. Working with these organisations and inspirational women is a small but critical step in the right direction.
Julia Niblett was appointed as Australia's High Commissioner to Bangladesh in July 2016. She is a senior career officer with DFAT, having previously held the positions of Assistant Secretary, South-East Asia Maritime Bilateral Branch; Mekong, Philippines and Myanmar Development Branch; and Asia Strategies and Partnerships Branch in the former AusAID. Ms. Niblett holds a Bachelor of Arts (Honours) from the University of Sydney and a Graduate Diploma of International Law from the Australian National University.
Australian AidBangladeshgender equality
New Colombo Plan scholarship to Indonesia opens career path
A Day in the Life of Australia's Ambassador to Afghanistan: Richard Feakes


A fantastic presentation of the story of Christ, straight from the mouth of the Duck Commander (Phil Robertson of Duck Dynasty).
Would love to see Phil come to Maryland Church!!!!!!!!!!!!
I am so impressed by this man. He gives the story of salvation so easily. God Bless you for being a Christian willing to speak for Jesus.
Awesome – glad to hear the truth being told on reality TV.


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Carlyle's Essays on Burns: With the Cotter's Saturday Night and Other Poems ...
Od autorov: Thomas Carlyle
O tejto knihe
Podmienky zmluvy
"had the power to develop in himself the essentials of what is good and beautiful," he met Robert Burns, - literally on his own ground, — and looked into his face with the level, searching, yet sympathetic glance of a reader of men.
THE WRITINGS OF CARLYLE
SINCE the Essay on Burns not only lights the way to a deeper appreciation and enjoyment of the poems of Burns, but also may serve as a natural introduction to the subsequent writings of Carlyle, it remains to speak briefly of the latter. The outward events of Carlyle's life from now on were comparatively few and unimportant. In the spring of 1834 he left Craigenputtock for London, where he settled at No. 5 Cheyne (pronounced Chainey) Row in the suburb of Chelsea, two miles west of the city on the north bank of the Thames. This was to be his home for nearly half a century, or until the day of his death, February 5, 1881; here he resided continuously with the exception of annual visits to his old home in Scotland, and a few short trips to Ireland, France, and Germany. In the work done here during the next thirty years is to be found his truest biography, the sincere reflection
of his life. Before leaving Craigenputtock, however, he had written what is perhaps still the most famous of his works-Sartor Resartus- which was "mythically autobiographical."
The following rough classification of Carlyle's most mportant writings may serve as a guide to further reading. They may be divided into four groups. To the first group belong the translations from the German (1823-1826). To the second belong the biographies and the biographical and critical essays, including the Life of Schiller (1824), Oliver Cromwell's Letters and Speeches (1840-1845), Heroes and Hero Worship (1841), the Life of John Sterling (1850), and most of the Critical and Miscellaneous Essays, among which of special value are the essays on Burns (1828), Voltaire (1829), Goethe's Works (1832), Boswell's Life of Johnson (1832), and Diderot (1833). In a third group might be placed the historical and ethical writings, the essay on Signs of the Times (1829), Sartor Resartus (1831), the essay on Characteristics (1831), the French Revolution (1843– 1847), the essay on Chartism (1839), Past and Present (1843), Latter Day Pamphlets (1850), and the History of Frederick the Great (1851-1865). Sartor Resartus, the essay on Characteristics, and Past and Present will be found to be the best introduction to Carlyle's political and ethical ideas.
THE TEXT OF THE ESSAY ON BURNS
The way in which the manuscript of the Essay on Burns was received by the editor of the Edinburgh Review is an illustration of the rather too well worn dictum that the contemporary critic is not always the best judge of a creation of genius. Jeffrey thought the article long and diffuse. Though he admitted that "it contained much beauty and fitness of diction," he insisted that it must be cut down to perhaps half its dimensions. Consequently when the proof-sheets finally reached the author himself, a good deal of the Essay was missing. Carlyle found "the first part cut all into shreds the body of a quadruped with the head of a bird, a man shortened by cutting out his thighs and fixing the knee-caps on the hips." He refused to let it appear "in such a horrid shape." Replacing the most important passages, he returned the sheets with an intimation that the article might be withheld altogether, but should not be mutilated. Fortunately for the readers of the Review, Jeffrey acquiesced and caused the article to be printed in very nearly its original form.1
1 The following passages do not appear in the form the article finally took in the Edinburgh Review: pp. 28-31, "Of this last excellence,... I'll nae mair trouble them nor thee, O";
In 1839 Carlyle's most important articles were col lected and republished in four volumes, entitled Criti cal and Miscellaneous Essays. Among these was the Essay on Burns. The revisions made by Carlyle in preparing the Essay for republication are of exceptional interest. They afford glimpses into his literary workshop, and permit us to see how he handled his tools, not those, to be sure, which are used. in blocking out and executing the main body of the work, but those of finer edge and temper which serve to bring out the more subtle shades of meaning or to point a keener emphasis. A list of some of the revised passages, printed side by side with the origi nal versions, is given below. After the student has read the Essay, and has seen into its larger organic structure, and has learned to keep step with the swing and onward movement of the style, it will pay him to turn his attention back to some of these finer points of workmanship. Just why was this particular change made by Carlyle? In just what way was this sentence improved as to its clearness, strength, coherence, or eternal fitness? In order to answer such questions as these, it will be found necessary in nearly
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every case to consider the passage with reference to its context, sometimes with reference to the whole paragraph or section, and thus, even in small things, the organic character of the style will be made manifest.
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Relais Santa Croce, Florence
Art lined ancient palazzo with grand rooms and original features
In the heart of Florence, seconds away from all attractions
Superb service and fine dining
With five stars and just twenty four rooms, the Relais Santa Croce has transformed one of Florence's most distinguished and historic townhouses into one of its most luxurious hotels. Stately home in style, with original features carefully preserved and a riot of frescoes, the Baglioni is just seconds away from all of Florence's attractions, not least the grand, neo-Gothic façade of Santa Croce church.
Bedroom and terrace
Baglioni Santa Croce
Every change as this grand old townhouse transformed into a top end boutique hotel had to be approved by the cultural authorities in Florence. As a result, like the city itself, the Santa Croce is a work of art. Family run, once owned by a treasurer to the Pope, this 18th-century residence impresses at every level. A generous stone staircase links rooms festooned with gilded and frescoed ceilings and splendid public rooms. Period furniture features in all, but the comfort levels are definitely contemporary, with wide beds and cosseting chaise longue and deep armchairs.
The music room retains its original function, with a grand piano providing an accompaniment to the delectable canapés served daily. It's a stunning space, with a parquet floor and soaring ceilings, wall friezes, carpets from the old Orient and leather sofas perfect for a gentle recline as melodies play out. Stepping out, Santa Croce and every other Florentine attraction is moments away, and on return to this Relais & Chateaux property, relaxation is instant.
The restaurant – Guelfi e Ghibellini is named after the two warring factions that dominated Florentine politics a long time ago. All is calm however, under its artistic ceiling and alongside its huge marble fireplace. And the food is fabulously Florentine, with porchetta and risottos and seasonal ingredients, many sourced from the nearby markets. There's also a three-star Michelin restaurant on the ground floor of the palazzo - the famous Enoteca Pinchiorri, where the dining is as exceptional as you'd expect.
Speak to one of our Florence experts on 020 7590 0604


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Malang Movie Cast Trailer Budget, Review, Release Date and Box Office
By Neha Sinha, Updated : Apr 02, 2020 11:21 IST
Multi Starrer Malang is all set to hit Box Office on 7th February 2020. Here are the Experts' views on Malang movie Review, Rating from Teaser, Trailer, First Look to budget & Collection estimations. Aditya Roy Kapur starrer Malang movie is fully packed with Action, Drama and Romantic. Directed by Mohit Suri Movie First Look Poster are out. Dashing look of Aditya Roy Kapur in Malang Movie Trailer Video has been cherished by fans. Aditya Roy Kapur's Movie Review & Ratings are bouth to our visitors. From critics, from social media trend to pool among Movie predictors hare everthing is briefed. You can also chechk out here Malang Movie Cast, budget, collection. Malang Movie Review on Drama Scene, Romance below.
Malang Movie Review & Rating-
Malang Movie Review by Experts with throw light on Movie low & high points are briefed Movie is producedby Bhushan Kumar, Krishan Kumar, Luv Ranjan, Ankur Garg, Jay Shewakramani. Movie Releasing on 7th February 2020. likely to be a blockbuster of 2020. Movie likely to give lukewarm response to the viewers as Malang movie is fully packed with Action, Drama & Romance of Aditya Roy Kapur. Music given by Mithoon, Ankit Tiwari, Asim Azhar, Ved Sharma. Movie Starring by Multi stars of bollywood like Aditya Roy Kapur, Disha Patani as Sara, Anil Kapoor as Anjaney Agashe, Kunal Khemu, Amruta Khanvilkar, Angela Krislinzki, Elli AvrRam, shaad Randhawa. Aditya Roy Kapur gained stardom by playing the lead role in the 2013 romantic film Aashiqui 2 and Yeh Jawaani Hai Deewani, both of which rank among the highest-grossing Bollywood films.
Malang Movie Cast-
Aditya Roy Kapur
Amruta Khanvilkar
Angela Krislinzki
Elli AvrRam
Shaad Randhawa
Malang Movie Story-
Malang is an upcoming bollywood movie starring Anil Kapoor, Aditya Roy Kapur, Disha Patani and Kunal Kemmu in lead roles. It is a drama directed by Mohit Suri jointly produced by Luv Ranjan, Ankur Garg, bhushan Kumar, Krishan Kumar and Jay Shewakraman. Music Composed by Ankit Tiwari, Anupam Roy, Mithoon and Jeet Gannguli. In this movie Anil Kapoor will be Seen as an Antagonist. His role can be seen as a funny cop. Movie set to release on 7 February 2020. Movie Revolves around A couple's apparently perfect life comes crashing down when they become linked to a corrupt cop and his righteous counterpart. Advait (Aditya Roy Kapoor), a young introvert, visits Goa where he meets Sara (Disha Patani), a free-spirited girl from London who has come to India for the first time to live life unshackled, like a vagabond (Malang). Extreme opposites of each other, they both live it up together. All goes well until life turns upside down. Five years later, this incident circles back to SHO Agashe (Anil Kapoor), vigilante killer cop and Michael Rodrigues (Kunal Kemmu), a righteous cop.
Malang Movie budget & Collection Ecpectstions-
Without being too techinal & theoretical, after analysis & experts' views Malang Movie may likely gross 50 cr plus in 1st week. Movie will likely break record of all previous released of Aditya Roy Kapoor and as per predictions if the Malang Box Office Collection gors as per estiamtion movie will not be stopped less than 200 cr in india. As per assumption of the see latest team movie Estimated Budget ₹30 Cr Cost + Publicity. this is most awaited movie of the 2020 and filming began on 16 march 2019. The film shooting completed on 7 October 2019. The film's music was composed by with Mithoon, Ankit Tiwari, Asim Azhar, Ved Sharma and The Fusion Project with lyrics written by Sayeed Quadri, Kunaal Vermaa, Prince Dubey and Haarsh Limabachiyaa.
Malang Aditya Roy Kapoor Anil Kapoor Disha Patni Kunal Kemmu


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Constructor of Concurrent class. This constructor creates a thread object for each activity.
activities - array of activities to be done.
Wait until one of the started threads finish it's execution. After it all other threads are stopped and result of finished thread is returned.
result returned by thread first finished it's execution.
Wait during specified period of time until one of started threads finish it's execution. After it all other threads are stopped and result of finished thread is returned.
result returned by thread first finished it's execution or null if timeout is expired before any thread finish it's execution.
array containing results returned by each of the threads.
array containing results returned by each of the threads or null if timeout is expired before all threads finish execution.


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The Lumbee problem: the making of an American Indian people.
Blu, Karen I. The Lumbee problem: the making of an American Indian people. 1980; Lincoln: Nebraska UP, 2001. Key source
Blu did extensive fieldwork in Robeson County; excerpts from her notes are included as direct quotations. Her thorough research in both published and unpublished literature is reflected in the book's bibliography. Provides accurate, precise treatments of the major topics and events. Analyzes Lumbees' perception of themselves and the meaning of Indianness to them. Discusses how each race in the county perceives itself and the other two races. Covers political participation; the attempted coalition with Blacks; their tactics for improving conditions after 1865; and relations with other mixed-blood groups, such as the Smilings. The final chapter analyzes ways of looking at Lumbee identity.
The 2001 paperback reprint adds the new Afterword by the author (pages 236-257, with 12 notes and 37 works cited). The following paragraphs discuss the Afterword.
This scholarly essay is at once an account of how the Lumbee people and community have changed since Blu did her field work there around 1967 and a very personal discussion of her response to reactions to (and sometimes misinterpretations of) her book. She also shares her feelings about renewing acquaintances with the Lumbee community in preparation for this essay.
Blu begins by describing the changes in Lumbee land that she perceived when she visited in November 2000. There were signs of progress (such as the Lumbee Guaranty Bank, name signs on county roads, and a luxurious new barn), but there were also families experiencing economic distress.
Blu found herself deeply moved (as I also did recently) by returning to Pembroke after several years' absence and re-encountering Lumbee friendliness, sincere interest in individuals, and strong sense of community.
Blu cares deeply about readers of her book—particularly Lumbee readers. She explains what her intentions were when she chose the title The Lumbee problem and, in the text, quoted from earlier derogatory writings about the Lumbee. These two choices distressed some Lumbee readers. Blu's intention was to show the "problem" regarding the Lumbee from two different perspectives: for the Lumbee themselves, showing outsiders that the Lumbee are a distinct people, in spite of pressures from the dominant society to conform or to disappear. For anthropologists, the "problem" was understanding and describing how the Lumbee managed to maintain their distinct identity.
Blu, as did other anthropologists at the time (1980), discussed the Indian identity of the Lumbee in social and cultural terms; but many people in the general population saw (and still see) Indian identity as biological. Though Blu's intentions were just the opposite, a fair number of readers took the title of the book, her discussion of social and cultural manifestations of Indianness (rather than biology), and her quoting and discussing earlier, derogatory writings about the Lumbee to mean that she did not believe the Lumbee qualify as an Indian tribe. Blu states that she found such misunderstandings—and the misuse, by some readers, of her book to argue the opposite of her intentions—very upsetting.
To make her intentions clear, Blu provides an excerpt from a strong, convincing letter she wrote for the 1992 Congressional hearing on a Lumbee federal recognition bill. This letter summarized her arguments and conclusions about the Indian identity of the Lumbee:
"By any reasonable definition, the Lumbee people are Native Americans and are and have been a functioning Indian community . . . . Continuities with the past have been maintained by the Lumbee in the face of many changes. Indian identity for them and for other Native Americans is profoundly cultural, a piece of a moral universe for those who hold it. It is not carried on a gene, it is not lost when Indians change their ways of making a living or use a different language. It is a way of seeing, a mode of understanding, a way of being in the world." (Blu 1992, quoted on pages 241-242)
Blu touches on the ongoing issue of federal recognition for the Lumbee. Blu's discussion, in The Lumbee problem, of the Lumbee within the context of whites and blacks in Robeson County, and in a broader state and national context; her shaping of the book using current anthropological "people" rather than "tribe" for the Lumbee all caused consternation for some Lumbee readers and made the book perhaps less useful to the Lumbee in their struggle for federal recognition than an ethnography might have been.
Returning to her discussion of changes among the Lumbee and in Robeson County since the research and publication of The Lumbee problem, Blu enumerates Lumbee authors and scholars who have been "telling their own stories"—some, such as the Barton family, since 1967. She describes changes and expansions of work related to the Lumbee and to American Indian Studies at UNC-Pembroke. She notes the use of newer media (for instance, Malinda Maynor's documentary video and CD-ROM, Sounds of Faith). Changes in Lumbee land include the election of Lumbees to political offices at local, county, and state levels; evidence of economic prosperity in Pembroke; and a growing Spanish-speaking population in the county. Particularly moving and heartfelt is her discussion of "the ties that bind"—the family relationships that are still central to Lumbee identity.
Overviews and studies–comprehensive
These libraries have this book. Check the library catalog of the library of your choice to see if the material is available.
Karen I. Blu
The Lumbee Problem
Pembroke (NC)
Federal recognition
Indianness


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Definitions for "Isometry"
Keywords: surjective, metric, preserves, transformation, distancepreserving
Related Terms: Similarity, Metric space, Triangulation, Translation, Vertex, Orientation, Rotational symmetry, Angular size, Equidistant, Distance, Angle, Geometry, Parallelism, Euclidean space, Coordinate system, Dilation, Thiessen polygons, Tangent plane, Elevation angle, Circle, Arc, Polar coordinates, Segment, Angle, Orientation, Radial, Conformality, Parabola , Azimuth angle, Conformal, Coordinate plane, Y axis, X axis, Polygon , Axis of symmetry, Fixed point, Hyperbola, Line, Minor axis, Tangent to a circle, Cartesian coordinates, Secant, Radian, Displacement, Reference point, Coordinates, Primitive, Angular distance, Symmetrical
A distance preserving transformation.
york.cuny.edu
A transformation that maps every segment to a congruent segment. Also called a congruence mapping.
library.thinkquest.org
If (''M''1, ''d''1) and (''M''2, ''d''2) are metric spaces, an isometry from ''M''1 to ''M''2 is a function ''f'' : ''M''1 → ''M''2 such that ''d''2(''f''(''x''), ''f''(''y'')) = ''d''1(''x'', ''y'') for all ''x'', ''y'' in ''M''1. Every isometry is injective, although not every isometry is surjective.
aimabook.com
a one-to-one mapping of one metric space into another metric space that preserves the distances between each pair of points; "the isometries of the cube"
a distance-preserving bijection between metric spaces
math.harvard.edu
a function f with the stated property, which is then necessarily injective but may fail to be surjective
4that.info
a linear transformation which preserves length
euclideanspace.com
an automorphism of the lattice which preserves the inner product
citeseer.ifi.unizh.ch
a plane transformation which preserves distances, and therefore shapes of figures
acronyms.co.nz
a special type of dilation that preserves shape and size
mathforum.org
a transformation of a geometric space that leaves distances between points unchanged
life.bio.sunysb.edu
a transformation that preserves distance
ams.org
A transformation that is distancepreserving. The distance between two points is the same as the distance between the corresponding images of these points.
In the study of Riemannian geometry in mathematics, a local isometry from one (pseudo-)Riemannian manifold to another is a map which pulls back the metric tensor on the second manifold to the metric tensor on the first. When such a map is also a diffeomorphism, such a map is called an isometry (or isometric isomorphism), and provides a notion of isomorphism ("sameness") in the category Rm of Riemannian manifolds.
Keywords: sea, loudness, equality, above, elevation
equality of elevation above sea level
equality of measure (e.g., equality of height above sea level or equality of loudness etc.)
Keywords: growing, growth, different, organism, parts
the growth rates in different parts of a growing organism are the same