In today's post we've got something for all students who are tech savvy – every student should be anyways! So we are making a list of the most relevant mobile phone app for students.
Smartphones are worthy of the name since they make our work easy by helping us carry out some tasks with ease. Fortunately, smartphones are not just for playing music, watching a video or taking selfies.
As a student there are a lot of other things you can do with your smart phone. Interestingly, you can save some money too. So let's quickly run through some of the most useful smart phone app for students.
From the name I'm guessing you have an idea of what this app will do for you. Well with WPS office you are bringing all the awesome features of the Microsoft Office Suite on your Windows PC to your smart phone.
This means WPS office enables you to read PDF, Docx and PowerPoint files with no stress. Interestingly, you can also create any of these files using WPS office.
Even though the WPS office app wasn't featured as one of the top in our list of best apps for college students, I can assure you that it's an app that's really worth its salt.
Everyone hates plagiarism and I can assure you that you may get in trouble if you submit a work to your lecturer and they happen to find that you copied or someone copied you.
With the digital age of today, it's common for students to source Materials from the Internet. Plagiarism checker can help determine the percentage of the uniqueness of your work as compared to other write ups on the Internet.
If you are a student of linguistics or just interested in learning some 'foreign' languages such as Spanish, French, etc, Doulingo is your sure bet as it turns your smartphone to a language tutor.
Doulingo has both speech and writing exercises which makes learning even more faster. Did I mention you can run a contest with friends on Doulingo? Yes you can.
Fast scanner app for smartphone is very useful as it turns your smartphone into a digital scanner. Using fast scanner app, you can easily scan and email documents or just scan and save notes or handouts as PDF or JPEG files for future reading.
It is free to use and supports both Google Android and Apple iOS devices.
With Photomaths installed on your smartphone solving maths problems such as equations shouldn't be a big deal again.
When given a maths problem, all you need do is take a clear photo shot of the problem and leave the rest for Photomaths to handle.
Interestingly, Photomaths will work out the maths problem and give you the steps. Cool right?
All medical students will actually need this app installed on their smartphones. Essential Anatomy features an awesome 3D technology and high graphics. This app is not free but I think it worth the price given the use it serves.
For those times you may need a quick passport photograph to process something online or you just need some fun pictures, Camera 360 is your sure bet.
Camera 360 makes a great improvement on your generic smartphone camera which means pictures taken via Camera 360 are of more quality.
All work and no play makes jack a dull boy, they say. Adding some social fun to your study life is great and thankfully, we have great apps like Facebook, WhatsApp, Twitter, etc, to keep you connected.
Some useful information such as a change in exam time may be broadcasted via any of these channels and you may miss out if you are not connected.
You have seen all we have in our Shelf for now. Feel free to leave a comment with questions or anything relevant to the list below.


text:
Bela Tarr
The Monochromic Force Field
Though Bela Tarr has made films in colour (Almanac of Fall is nothing if not an experiment with it), he is most significantly a filmmaker of black and white worlds. All his late films have been made in monochrome, and they create, partly as a consequence, a universe. Now many filmmakers do not do this, and there are several ways in which we can look at how Tarr manages to create this otherworldly aspect to his work whilst still insisting that it is black and white that cements it. When for example he talks of Damnation, he says, in an interview with Jonathan Romney, that "we shot the film at seven different locations. And that this city really doesn't exist. It can't be found on a map." (Enthusiasm) But whether a film is using a specific location, happens to use several, or builds a film using sets, this doesn't quite explain how a filmmaker creates a universe. When Michael Haneke based the apartment in Amour, set in Paris, on his parents' flat in Austria, he wasn't creating a universe, but merely a plausible mise-en-scene that would allow him to bring out more clearly the lives of his aging characters. It is not a quite a world as we're defining it, and perhaps one reason why many see The Time of the Wolf as one of Haneke's weakest films is that it possesses a futuristic dimension that nevertheless fails to envisage a universe for this dystopian vision. Haneke may well be a great filmmaker, but he is at his best working with locations that have a strong sense of verisimilitude, and then generates disquiet within these environments, from FunnyGames to Hidden.
Bela Tarr, however, like Tarkovsky and Sokurov, doesn't seem much to care for this world, and wants instead to create a 'parallel universe', a world that resembles our own but doesn't quite mimic it. Anybody expecting a realistic account of rural poverty watching TheTurin Horse might wonder why the only thing the characters ever seem to eat are potatoes, and don't even wait for them to cool down before picking away at the skin and scoffing them scoldingly hot. Those demanding a delineating of the village in Werckmeister Harmonies, and the social chaos that ensues after a giant whale and a dwarf called the Prince come to town, are going to be mystified. This is a place where our central character calls numerous men in the film 'uncle', and where the marauding masses near the end are suddenly stopped in mid-madness by the sight of a naked, aging man in the shower.
These unrealistic elements are contributing factors to Tarr's universe, and we can include his capacity to remove from his screen space what in another filmmaker's work would usually be seen as pertinent. It isn't that there are no crowd scenes or large groups in the films: Werckmeister Harmonies shows men milling around the town square and marching towards a hospital; Damnation has large number of locals revelling in the town bar. It is more that there is no general living space in Tarr's late works; no sense that this is a community he happens to be showing us, but instead atomisation occasionally alleviated by intoxication through alcohol or violence. But it also lies in the deliberation evident in the films' camera work. He is a director who never assumes there is a general, most appropriate place to put the camera, and many of his shots indicate that there isn't a great deal of difference between character and event, subject and object. The opening scene in Satantango doesn't introduce us to the characters we will then be focusing upon, but instead laterally tracks for several minutes as we see a farmyard with cows slowly moving across the frame, and then we watch as the camera leaves the cows behind for a minute or two while it passes a series of derelict buildings. It is a dilapidated world, and if someone were to ask us what sort of characters would be occupying this universe, we might easily reply very desperate ones – which is exactly what Tarr shows us. Yet this is desperation not coming out of the characters, with the place merely a backdrop, but a foregrounded and foreshadowed gloom that emanates out of the environment.
All the openings of Tarr's late films are familiarly Tarr-like without at all resembling each other. Damnation opens on an image of coal buckets before the camera reveals that what we are seeing we are viewing through a window, then revealing, again, that it is a man watching. The Turin Horse focuses for several minutes on a horse, cart and its driver furiously moving through the windy flatlands. The Man from London is a caressing long take that tilts up to show a docked boat. Each moment gives us a little bit more information: like the opening of Damnation, it doesn't establish the screen space in one instance, but instead reveals it methodically as we see water, then the boat, then a series of operations viewed from a character's perspective.
It is as though Tarr is insisting that we ought to see the image. How often do we scan the frame for necessary information and leave it at that, knowing the space is established and the characters sketched? Tarr asks us to see each detail both in and of itself, and also for their accumulated meaning. It is a variation we might say of the problem of plot versus story. Where the story tells us what the film is about; the plot orders the events as they are provided. In other words, the story of Altman's The Long Goodbye is that of a man who has been screwed over by his best friend and his friend's lover Mrs Wade, but the order of the events won't allow us to make this statement until the film is almost over. Instead we would have to talk about Marlowe's missing cat, Marlowe's arrest, Wade's death, and so on, because that is the order in which the information is given to us. In the opening scene of The Man from London we can say that someone witnesses a transaction at a port, but the quick summary would deny the slow accumulation of information, evident in Peter Labuza's blow by blow account. "The camera then moves back, and allows the observer—the man who views and thus creates—to have a face. He was a body before; now he is a person. We follow his view, and as he leads us to the other side, suddenly we are confronted with land on the other side, a new part of this reality that exists almost independently of the train on the other side. Watch how the camera then treats the essential action—we watch as a man moves to the edge of the port, and then the camera turns to show a man now on the boat, holding a suitcase. That suitcase and man could not exist without the movement of the camera, and thus by the camera pointing us to him, he now exists and allows the suitcase to be thrown. Finally, Tarr gives us the full view via a long final pan—the mystery port, the boat, the train station. The train's engine starts, but it can only move until the camera points the way forward, creating the railway for it to travel. The shot is complete—we now have a reality for this narrative to take place in." (LetterBoxd.com)
Where we'd be inclined to disagree with Lubeza is over the notion of a reality into which the narrative is inserted. If we are claiming that Tarr creates a universe, then this is because he would be suspicious of reality and wants instead to create a world that can hyperbolize certain modes of feeling. If philosopher Michel Foucault could suggest that the world isn't bad, it is dangerous, Tarr is inclined to disagree. Foucault would say, "Power is not a substance. Neither is it a mysterious property whose origin must be delved into. Power is only a certain type of relation between individuals." "What I am attentive to is the fact that every human relation is to some degree a power relation. We move in a world of perpetual strategic relations. Every power relation is not bad in itself, but it is a fact that always involves danger." The world might be dangerous but it is surely bad, Tarr would say, insisting on the absolute depth of despair not only in the films but in interviews also. "At the beginning of my career, I had a lot of social anger. I just wanted to tell you how fucked up the society is. This was the beginning. Afterwards, I began to understand that the problems were not only social; they are deeper. I thought they were only ontological. It's so, so complicated, and when I understood more and more, when I went closer to the people… afterward, I could understand that the problems were not only ontological. They were cosmic. The whole fucked up world is over. That's what I had to understand, and that's why the style has moved. Once I went down, I kept going down. The style became more and more downward, by the end, becoming more simple, very pure. That's what was interesting for me, to discover something step by step." (Indiewire) Elsewhere he says, speaking to Fergus Daly and Max Le Cain, "afterwards when we made a second movie and a third we knew better that there are not only social problems. We have some ontological problems and now I think a whole pile of shit is coming from the cosmos. And there's the reason. You know how we open out step by step, film by film. It's very difficult to speak about the metaphysical and that." (Senses of Cinema)
Yet the purpose of the director's work is to find a way in which to talk about metaphysical things. When the central character Karrer in Damnation goes into the police station near the end of the film and reports on a crime, he describes it so vaguely to the officer that we must glean from it that he is snitching on his lover's husband concerning a deal Karrer has involved the husband in. As Karrer talks of fate and of certain paths people go down, Tarr matches the abstraction of verbal content with the adventurousness of form. When the conversation starts, the camera is elsewhere, slowly tilting, panning and craning outside the police headquarters; at one moment passing a damp wall before looking in through the window where Karrer and the police officer are talking. A tracking shot past a damp wall is a favourite Tarr image but only because his style can incorporate the irrelevant detail as significant matter. It goes back to our remark about the dissolution of subject and object, the desire in Tarr's work to lay claim that the world is a mess and to assume that the individual can do anything about it is to generate a false sense of agency. In this sense Tarr is properly old-fashioned; he makes a word like evil pertinent by making much in his films that in other works would be irrelevant of surprising significance. Rather than the camera searching out the details of the characters lives and actions, Tarr often deviates from these lives and actions all the better to suggest the characters are not in control of their existence. When he opens a scene of Karrer and the barman talking in the toilets he starts by shooting the ceiling; in an earlier scene between them he hovers over the glasses while they talk before showing us their faces much later.
It is as though the director seeks a decidedly modern and modernist form all the better to reflect a much more old-fashioned idea of agency than we presently are seen to possess. Michel Serres, in an interview with Bruno Latour, talks about scientific probability on the body as an aspect of personal choice. "Once I know…the consequences of a certain food or some prescribed exercise, I become largely responsible for my illness and even for my death. As a product of objective knowledge, morality dislodges my very cultural background; I have to substitute for my usual ways…a certain dietetic and austere obligation…Gluttony, laziness, lust, and anger pass from the confessional to the laboratory, from spiritual and subjective intention to rational evidence and obligation, both final and causal." (Conversations on Science, Culture and Time) Tarr is more confessional than laboratory since the idea of personal responsibility is of far less interest than the idea of cosmic determination. When Karrer speaks to the police officer, this is a case of jealousy, but is that all it happens to be? And where does this envy come from? It seems more than a simple problem of trying to get the husband out of the picture. The scene comes across as a combination of sneakiness, confession, self-hatred and self-aggrandizement. Tarr might later have co-written an adaptation of The Postman AlwaysRings Twice for fellow Hungarian filmmaker Gyorgy Feher, but Passion is a straightforward version next to Tarr's ménage a trois. One of the advantages of being old-fashioned is that you can paradoxically be more complex. Tarr doesn't pretend to know where certain motivating factors might come from, and his characters become all the more unfathomable as a consequence, while his style becomes ever more visually baroque as he feels under no obligation to use the camera to show what somebody is clearly thinking and feeling.
When for example a filmmaker cuts from a wallet full of money that has fallen out of someone's pocket back to another person looking at it we can assume with some confidence that they will steal it if they are a bad character and swiftly tell the person whose wallet it is that they dropped it if they are a good one. Equally, when someone looks like they feel threatened and the film cuts from their face to the knife on the kitchen table, we might wonder whether they will try and use it in their defence. This often doesn't even need a point of view shot from the character to the knife – the linking of the two shots will put in our mind what is or will soon be on the mind of the character. This is straightforward motivation, cinematically, but how do you find a form that visualizes the malevolent universe Tarr constantly talks about? It is one thing to say you want to capture the thought processes of a character in the process of getting what they want, but how do you film not characters battling the elements or the enemy, but an abstract force?
Tarr manages to do so with a camera style that refuses to locate itself in the place of character but usually beyond character. In the opening scene from Damnation, Karrer is looking out of the window, but the film is not interested in the shot of someone peering through the glass that we find in many a film, and also sometimes great ones, from RearWindow and A Short Film About Love, to efficient works like Monsieur Hire and Body Double.
In each instance we are placed quite concretely in an epistemologically engaged situation, with what is going on beyond the window of important narrative interest. In Damnationthis isn't so, as Karrer is looking at nothing more than the coal buckets passing in the medium distance. What intrigues the director is an abstract element beyond character rather than Karrer's curiosity, and what counts is not to set the story in motion, but the camera. It is as if the camera is autonomous as it slowly reveals a man looking out of the window, but withholds showing his face as the camera pulls back and shows the rear of his head. The first few minutes bring together two common details in the director's work: characters looking out of windows, and walls laterally passed, details that add to the director's yen for refusing the anthropocentric.
Now it happens to be the case that sometimes this looking contains a narrative dimension (Satantango, The Man from London) sometimes not (Damnation, The Turin Horse), but even when it possesses active curiosity rather than passive gazing, the film plays up the passive element. In Satantango, Peter Berling's burly homebody spies on the neighbours and takes notes in his little black book; the figure in The Man from London is watching a fight take place and a man falling into the sea. In Satantango, Tarr is more interested in the wheezing, hefty man hauling himself around his small apartment than he is in getting the story moving. In The Man from London, the elaborate shot that opens the film is as important as any content within it. In Damnation the passivity is played up: what can he possibly be seeing looking at the coal buckets? In The Turin Horse the inertia is even more in evidence. There are a number of occasions where we see the film's two leading characters, a father and daughter, looking out of a small window in their farmhouse, at nothing in particular. But whether the scene hints at narrative to come, or denies its likelihood, what matters is filming the sequences in a way that the emphasis doesn't lie in action, but the emptiness that surrounds it. When Tarr films ceilings or walls he does so not because there is anything interesting to look at there, but to emphasize a context that diminishes human agency, even responsibility.
This is partly what we mean by saying that Tarr creates a universe. Where most filmmakers tell a story, Tarr films its relative absence. Our example of the purse and the knife are instances where the director focalizes the telling: the director tells the story with telling images. Tarr concentrates instead on the emptiness that potentially surrounds any story that we might tell, if we call into question the agency of the characters, the concreteness of motive and the state of the world. Yet would Tarr's films have the same impact if they were made in colour? Does monochrome give them the otherworldliness they seek? Where the mid-eighties Almanac of Fall plays with using different colours to separate the planes, with say a chair lit by green in the medium plane while the curtains in the distant plane would be reddish tinged, the film perhaps became more artificial than indicative of a parallel universe. Watching it one can see Tarr refusing realism but falling into mannerism as the film resembles late Fassbinder works like Querelle, but without Fassbinder's particular sensibility. It feels like an experiment in colour, but not quite like a Bela Tarr film as we have come to know it. This is true also of other early Tarr films like the fly on the wall approach to Family Nest, and the anthropological specificity in TheOutsider. They don't quite suggest the discovery of a universe.
It is as though the director and his now regular team of editor Agnes Hranitzky, composer Mihaly Vig and writer (the novelist) Laszlo Krasznahorkai found a means to build a world based on escaping certain assumptions and couching them in monochrome. When Krasznahorkai talks of the sentence it is similar to how Tarr uses the camera. "… the short sentence is artificial – we use almost never short sentences, we make a pause, or we hold on a part of a sentence end …"he reaches for it with his left hand as it passes "… but this characteristic, very classical, short sentence – at the end with a dot – this is artificial, this is only a custom, this is perhaps helpful for the reader, but for only one reason, that the readers in the last few thousand years have learned that a short sentence is easier to understand, this is also a custom, but if you think, you almost never use short sentences, if you listen …" (Guardian) If cinema often uses short shots to tell the story, most writers use shorter sentences to do likewise. But the long sentence can give to the work a particular breath that writers like Saramago, Bernhard and Krasznahorkai utilize in their novels, as the story gets deliberately lost in the complexity of the syntax. Something of the same happens with a certain approach to cinematic syntax also. If Tarr had worked in shorter takes, then some of the narratively superfluous information he provides would carry a much greater burden of meaning than it does through the long take. When he opens on shots of a ceiling, or of a wall, or allows his camera to pass along a building, Tarr builds the details into the shot so that the detail doesn't ask us to question its presence as a brief shot might, but instead asks us to see it as part of a wider choreography. It doesn't announce its apparent irrelevance, it becomes simply a component of the long shot that has its own logic. This is even the case in more mainstream-oriented long take films like BoogieNights, where the long take has to absorb everything on its way to the narratively informative. At the beginning of Boogie Nights, the film introduces us to the main characters before concluding on Mark Wahlberg's leading figure working at the bar, but the film observes various superfluous characters too as it holds to the one lengthy shot. The difference with Tarr is that he will play up the smaller details and downplay the narratively pertinent ones, so that when in Damnation he shows Karrer waiting outside his lover's place until the husband leaves, the story aspect will be embedded within a larger feel for location, meteorological conditions (it is often windy and raining in Tarr films), and the weight on an individual's soul – even, as we will see, a horse's.
In The Turin Horse, a lengthy sequence where the two leading characters try and get the horse out of the stable is a variation of Bartleby's I would prefer not to. Following in the tradition of Melville and Kafka's The Hunger Artist, Tarr films the resistance in the soul of the beast, a horse that has been shown an alternative ,taking into account the story that opens the film. Here a voice over tells us of the moments before Nietzsche's final breakdown, where he saw a horse being brutally beaten by its owner. Nietzsche goes over to the horse, puts his arm around it and sobs. Later he goes home, lies down and becomes insane for the remaining eleven years of his life. Nobody knew what happened to the horse, but this is where Tarr's film picks up, as he ignores completely Nietzsche's break down and concentrates instead on the horse's equivalent. It is a horse that would prefer not to as Tarr focuses on the impossibility of the father and daughter's life, and the no less difficult existence of a horse that seems to know even better than the father and the daughter that life is not worth the effort. Tarr combines the long take method which possesses its own logic – a logic that insists that wherever you start a shot from you must follow through on all the information contained within that shot – with what balances the sequence: the exploration not of an action but a condition. The state if the soul. BoogieNights will possess the same syntactical reasoning as a Tarr film, but the purpose will be quite different. The lengthy opening to Boogie Nights captures frenetic activity in the club, but concludes on the despondent Walhberg wishing he were more central to the action. The typical Tarr take indicates much more the shape of someone's ontological aspect. This can sometimes be the illumination of a positive soul (the holy fool figure played by Lars Rudolph in Werckmeister Harmonies; the beast in The Turin Horse), sometimes negative: Karrer in Damnation, Peter Berling's character in Satantango, and sometimes in between. One can think of the young girl and her horrible cruelty to the cat in Satantango, but see her as both an innocent and a victim simultaneously: she is treated badly by others and takes it out on something more helpless still.
Thus we notice that Tarr's work is very interested in capturing the temperature of the soul, and that his lengthy takes find their balance in this enquiry. However, we have also insistently proposed that monochrome is vital to his filmic universe, and we don't want to be overly symbolic when we say it reflects well his interest in the notion of a world of black and white morality, of good versus evil. Yet alongside David Lynch, Bela Tarr is a filmmaker of immense formal vigour who at the same time couches this originality within a moral system that is often regarded as outdated next to the developments in psychiatry, sociology and biology. However, if we've invoked Serres talking of agency and the body, we can also think of fellow French philosopher Alain Badiou and remarks made in an interview 'On Evil'. Here the interviewers Christopher Cox and Molly Whalen discuss in their introduction the problem of evil that has fascinated philosophers from Socrates, Leibniz, Augustine and Kant, and see its return in contemporary philosophy under the influence for example of Lacan. Badiou couches the problem of evil in a rather different way than we see in Tarr's films, but sees in it a similarly abstract purpose, however tied it happens to be to the givens of an act. In other words, Badiou is very suspicious of a well-known formulation that we can find in Levinas and Derrida concerning "respect for the other", which he feels "has nothing to do with any serious definition of Good and Evil. What does "respect for the other" mean when one is at war against an enemy, when one is brutally left by a woman for someone else…" as he believes what counts is the situation and not some universal application. But where Badiou gives concrete situations in which to couch questions of good and evil, Tarr offers instead filmic universes in which similar notions can be played out, and plays them out all the more incisively through using monochrome. In this sense we can understand why Tarr insists that there are no abstract things in his films, evident when he says there "are very simple and definite scenes in the films and we try to think a little about the quality of life, because everybody has just one single life and it does matter how they live that one life." (Enthusiasm)
Yet his characters act as if controlled by forces stronger than their own will in locations that deliberately lack ready verisimilitude. Whether it happens to be the coastal town in The Man from London, the isolated farmhouse in The Turin Horse, or the village made up of numerous locations in Damnation, we can't locate these places on a map, and equally we cannot quite locate them in a realistic ethical world where people are fallible chiefly because of the everyday quandaries that we can readily understand. A film like Psychomight be a genre work, but it still places us in a location (Phoenix), in the work environment (Marion is a bank employee) and in her ready motivations: she steals the money from the bank so that she can start a new life with her lover who is trying to get out of a failed marriage but doesn't have the money to hand. Good and evil become irrelevant next to pragmatic needs, and even later Norman Bates's actions are justified in psychological terms. Hitchcock sets the scene beautifully, but he doesn't expect us to assume that the tensions come out of the milieu. This is what Tarr does expect, so that the desultory rain, the vicious wind, the cruel cold all invite pathetic fallacy but not at all the anthropomorphic. It's as if Tarr set out to invert the Camus problem in The Outsiderconcerning the sun's influence of Meursault's murder of an Arab, and wonders what deeds can take place in a cold climate. Good and evil (and mainly evil) seem to come out of the environment more than the strong motivations of the characters, so that even if we do have Karrer's desire for a woman in Damnation, it functions not very differently from the horse's refusal in The Turin Horse or the mob's reactions in Werckmeister Harmonies. By removing the focus on the humanly motivational, Tarr opens up his films to forces that can't be so centrally located.
Thus while we might not agree with Tarr's insistence that he isn't interested in metaphysical things, we can see that his fascination is in the concrete sense of screen space that is both unreal in its geographical coordinates and visualized in a style that undermines our ability to understand what is perhaps going on in his characters' minds. If Tarr ignores the metaphysical, it is in the sense that he is not at all concerned with it in its Cartesian formulation: I think therefore I am. If characters often look out of windows in Tarr's work we shouldn't be musing over what they might be thinking, but instead the general absence of thought as they do so. When the daughter in Turin Horse spends much of her time seated by the kitchen window, our interest lies not in what thoughts she might be having, but the emptiness of the view in front of her and how matched it might be by what is in the back of her mind. This is not at all the Kuleshov effect where a fixed expression on an actor's face is read in various ways based on the counter shot, so that a man is seen to be mean, kind, cruel, hungry or sad because of the image of a baby, food, violence etc. In The Turin Horse there is a moment where the camera, which has usually given us the shot from inside the house of the daughter's gaze outwards, shows the reverse angle and looks back at the daughter from outside the farmhouse, slowly moving in on her as she looks out. It is a shot of devastating emptiness, of the human as null and void, and for all cinema's achievement of getting inside a character's head when it doesn't possess literature's immediately evident ability to do so, we realize at the same time how rare it is to show a character who is not thinking at all. In The Turin Horse it isn't that the director wants to give the horse the characteristics of human feeling as we watch while it prefers not to, but that he removes from the human the psychological characteristics that can turn this preferred state not into an existential choice, but into a mental evacuation.
States of good and evil come in consequently less as strong motivating factors, but more as strong forces against the weakest of characters. Rudolph's figure in WerckmeisterHarmonies is probably the closest to a good person, though the daughter in The TurinHorse possesses some of the same qualities. But theirs is a goodness that passes through them as the bad passes through Karrer in Damnation, through the mob in WerckmeisterHarmonies, the villagers in Satantango. They all seem like empty vessels capable of allowing forces to enter without much thought or consequence. Even the visitor in TheTurin Horse who comes to buy potato-based alcohol unleashes a speech that though initially appears politically motivated, turns into an incantatory rant; finally more focused on the needs of unleashing anger and resentment than on a coherent view of oppression. The betrayals in Damnation and Satantango (where everyone is spying, cheating or destroying each other) are examples of human moral frailty rather than personal gains, with no one really capable of explaining their actions, but driven by powers beyond their ready ken.
Black and white at a time when colour cinema is the norm can give to such 'thin' characterization a visual alibi: it can ask us not to take this world for our own and not to look for actions causally generated from complicated psychological structures. It can generate a monochromic force field that doesn't allow us into the film but quite deliberately keeps us slightly removed from its workings. As Tarr says: "It's very simple. If you want to make a colour movie, and you go out onto the street, and you want to create the right atmosphere, you must paint the whole street, because every house is red, blue, green and so on. And you have no colours, you just have some colour chaos. For me it's a kind of naturalism, the colour movie. With black and white you can keep it more stylistic, you can keep more of a distance between the film and reality which is important." (Sensesof Cinema) The combination of Mihaly Vig's music, whether sweetly reflecting the innocence of Janos (Rudolph) in Werckmeister Harmonies, or insistently repetitive and capturing the world at the end of its tether in The Turin Horse, the various cinematographers' camera movements around the centre of actions in all the late films, and Krasznahorkai's dialogue that allows things to be said without saying anything, generate a universe indeed. It manages brilliantly to create a world in parallel to our own. It indicates the core of our being without diluting it through the many and myriad actions that give a superficial impression of purpose and meaning, but that might finally be a futile distraction from the final futility of our existence. Such is the world Tarr offers.
Though Bela Tarr has made films in colour (Almanac of Fall is nothing if not an experiment with it), he is most significantly a filmmaker of black and white worlds. All his late films have been made in monochrome, and they create, partly as a consequence, a universe. Now many filmmakers do not do this, and there are several ways in which we can look at how Tarr manages to create this otherworldly aspect to his work whilst still insisting that it is black and white that cements it. When for example he talks of Damnation, he says, in an interview with Jonathan Romney, that "we shot the film at seven different locations. And that this city really doesn't exist. It can't be found on a map." (Enthusiasm) But whether a film is using a specific location, happens to use several, or builds a film using sets, this doesn't quite explain how a filmmaker creates a universe. When Michael Haneke based the apartment in Amour, set in Paris, on his parents' flat in Austria, he wasn't creating a universe, but merely a plausible mise-en-scene that would allow him to bring out more clearly the lives of his aging characters. It is not a quite a world as we're defining it, and perhaps one reason why many see The Time of the Wolf as one of Haneke's weakest films is that it possesses a futuristic dimension that nevertheless fails to envisage a universe for this dystopian vision. Haneke may well be a great filmmaker, but he is at his best working with locations that have a strong sense of verisimilitude, and then generates disquiet within these environments, from FunnyGames to Hidden.
Bela Tarr, however, like Tarkovsky and Sokurov, doesn't seem much to care for this world, and wants instead to create a 'parallel universe', a world that resembles our own but doesn't quite mimic it. Anybody expecting a realistic account of rural poverty watching TheTurin Horse might wonder why the only thing the characters ever seem to eat are potatoes, and don't even wait for them to cool down before picking away at the skin and scoffing them scoldingly hot. Those demanding a delineating of the village in Werckmeister Harmonies, and the social chaos that ensues after a giant whale and a dwarf called the Prince come to town, are going to be mystified. This is a place where our central character calls numerous men in the film 'uncle', and where the marauding masses near the end are suddenly stopped in mid-madness by the sight of a naked, aging man in the shower.
These unrealistic elements are contributing factors to Tarr's universe, and we can include his capacity to remove from his screen space what in another filmmaker's work would usually be seen as pertinent. It isn't that there are no crowd scenes or large groups in the films: Werckmeister Harmonies shows men milling around the town square and marching towards a hospital; Damnation has large number of locals revelling in the town bar. It is more that there is no general living space in Tarr's late works; no sense that this is a community he happens to be showing us, but instead atomisation occasionally alleviated by intoxication through alcohol or violence. But it also lies in the deliberation evident in the films' camera work. He is a director who never assumes there is a general, most appropriate place to put the camera, and many of his shots indicate that there isn't a great deal of difference between character and event, subject and object. The opening scene in Satantango doesn't introduce us to the characters we will then be focusing upon, but instead laterally tracks for several minutes as we see a farmyard with cows slowly moving across the frame, and then we watch as the camera leaves the cows behind for a minute or two while it passes a series of derelict buildings. It is a dilapidated world, and if someone were to ask us what sort of characters would be occupying this universe, we might easily reply very desperate ones - which is exactly what Tarr shows us. Yet this is desperation not coming out of the characters, with the place merely a backdrop, but a foregrounded and foreshadowed gloom that emanates out of the environment.
All the openings of Tarr's late films are familiarly Tarr-like without at all resembling each other. Damnation opens on an image of coal buckets before the camera reveals that what we are seeing we are viewing through a window, then revealing, again, that it is a man watching. The Turin Horse focuses for several minutes on a horse, cart and its driver furiously moving through the windy flatlands. The Man from London is a caressing long take that tilts up to show a docked boat. Each moment gives us a little bit more information: like the opening of Damnation, it doesn't establish the screen space in one instance, but instead reveals it methodically as we see water, then the boat, then a series of operations viewed from a character's perspective.
It is as though Tarr is insisting that we ought to see the image. How often do we scan the frame for necessary information and leave it at that, knowing the space is established and the characters sketched? Tarr asks us to see each detail both in and of itself, and also for their accumulated meaning. It is a variation we might say of the problem of plot versus story. Where the story tells us what the film is about; the plot orders the events as they are provided. In other words, the story of Altman's The Long Goodbye is that of a man who has been screwed over by his best friend and his friend's lover Mrs Wade, but the order of the events won't allow us to make this statement until the film is almost over. Instead we would have to talk about Marlowe's missing cat, Marlowe's arrest, Wade's death, and so on, because that is the order in which the information is given to us. In the opening scene of The Man from London we can say that someone witnesses a transaction at a port, but the quick summary would deny the slow accumulation of information, evident in Peter Labuza's blow by blow account. "The camera then moves back, and allows the observerthe man who views and thus createsto have a face. He was a body before; now he is a person. We follow his view, and as he leads us to the other side, suddenly we are confronted with land on the other side, a new part of this reality that exists almost independently of the train on the other side. Watch how the camera then treats the essential actionwe watch as a man moves to the edge of the port, and then the camera turns to show a man now on the boat, holding a suitcase. That suitcase and man could not exist without the movement of the camera, and thus by the camera pointing us to him, he now exists and allows the suitcase to be thrown. Finally, Tarr gives us the full view via a long final panthe mystery port, the boat, the train station. The train's engine starts, but it can only move until the camera points the way forward, creating the railway for it to travel. The shot is completewe now have a reality for this narrative to take place in." (LetterBoxd.com)
Where we'd be inclined to disagree with Lubeza is over the notion of a reality into which the narrative is inserted. If we are claiming that Tarr creates a universe, then this is because he would be suspicious of reality and wants instead to create a world that can hyperbolize certain modes of feeling. If philosopher Michel Foucault could suggest that the world isn't bad, it is dangerous, Tarr is inclined to disagree. Foucault would say, "Power is not a substance. Neither is it a mysterious property whose origin must be delved into. Power is only a certain type of relation between individuals." "What I am attentive to is the fact that every human relation is to some degree a power relation. We move in a world of perpetual strategic relations. Every power relation is not bad in itself, but it is a fact that always involves danger." The world might be dangerous but it is surely bad, Tarr would say, insisting on the absolute depth of despair not only in the films but in interviews also. "At the beginning of my career, I had a lot of social anger. I just wanted to tell you how fucked up the society is. This was the beginning. Afterwards, I began to understand that the problems were not only social; they are deeper. I thought they were only ontological. It's so, so complicated, and when I understood more and more, when I went closer to the people... afterward, I could understand that the problems were not only ontological. They were cosmic. The whole fucked up world is over. That's what I had to understand, and that's why the style has moved. Once I went down, I kept going down. The style became more and more downward, by the end, becoming more simple, very pure. That's what was interesting for me, to discover something step by step." (Indiewire) Elsewhere he says, speaking to Fergus Daly and Max Le Cain, "afterwards when we made a second movie and a third we knew better that there are not only social problems. We have some ontological problems and now I think a whole pile of shit is coming from the cosmos. And there's the reason. You know how we open out step by step, film by film. It's very difficult to speak about the metaphysical and that." (Senses of Cinema)
Yet the purpose of the director's work is to find a way in which to talk about metaphysical things. When the central character Karrer in Damnation goes into the police station near the end of the film and reports on a crime, he describes it so vaguely to the officer that we must glean from it that he is snitching on his lover's husband concerning a deal Karrer has involved the husband in. As Karrer talks of fate and of certain paths people go down, Tarr matches the abstraction of verbal content with the adventurousness of form. When the conversation starts, the camera is elsewhere, slowly tilting, panning and craning outside the police headquarters; at one moment passing a damp wall before looking in through the window where Karrer and the police officer are talking. A tracking shot past a damp wall is a favourite Tarr image but only because his style can incorporate the irrelevant detail as significant matter. It goes back to our remark about the dissolution of subject and object, the desire in Tarr's work to lay claim that the world is a mess and to assume that the individual can do anything about it is to generate a false sense of agency. In this sense Tarr is properly old-fashioned; he makes a word like evil pertinent by making much in his films that in other works would be irrelevant of surprising significance. Rather than the camera searching out the details of the characters lives and actions, Tarr often deviates from these lives and actions all the better to suggest the characters are not in control of their existence. When he opens a scene of Karrer and the barman talking in the toilets he starts by shooting the ceiling; in an earlier scene between them he hovers over the glasses while they talk before showing us their faces much later.
It is as though the director seeks a decidedly modern and modernist form all the better to reflect a much more old-fashioned idea of agency than we presently are seen to possess. Michel Serres, in an interview with Bruno Latour, talks about scientific probability on the body as an aspect of personal choice. "Once I know...the consequences of a certain food or some prescribed exercise, I become largely responsible for my illness and even for my death. As a product of objective knowledge, morality dislodges my very cultural background; I have to substitute for my usual ways...a certain dietetic and austere obligation...Gluttony, laziness, lust, and anger pass from the confessional to the laboratory, from spiritual and subjective intention to rational evidence and obligation, both final and causal." (Conversations on Science, Culture and Time) Tarr is more confessional than laboratory since the idea of personal responsibility is of far less interest than the idea of cosmic determination. When Karrer speaks to the police officer, this is a case of jealousy, but is that all it happens to be? And where does this envy come from? It seems more than a simple problem of trying to get the husband out of the picture. The scene comes across as a combination of sneakiness, confession, self-hatred and self-aggrandizement. Tarr might later have co-written an adaptation of The Postman AlwaysRings Twice for fellow Hungarian filmmaker Gyorgy Feher, but Passion is a straightforward version next to Tarr's mnage a trois. One of the advantages of being old-fashioned is that you can paradoxically be more complex. Tarr doesn't pretend to know where certain motivating factors might come from, and his characters become all the more unfathomable as a consequence, while his style becomes ever more visually baroque as he feels under no obligation to use the camera to show what somebody is clearly thinking and feeling.
When for example a filmmaker cuts from a wallet full of money that has fallen out of someone's pocket back to another person looking at it we can assume with some confidence that they will steal it if they are a bad character and swiftly tell the person whose wallet it is that they dropped it if they are a good one. Equally, when someone looks like they feel threatened and the film cuts from their face to the knife on the kitchen table, we might wonder whether they will try and use it in their defence. This often doesn't even need a point of view shot from the character to the knife - the linking of the two shots will put in our mind what is or will soon be on the mind of the character. This is straightforward motivation, cinematically, but how do you find a form that visualizes the malevolent universe Tarr constantly talks about? It is one thing to say you want to capture the thought processes of a character in the process of getting what they want, but how do you film not characters battling the elements or the enemy, but an abstract force?
In each instance we are placed quite concretely in an epistemologically engaged situation, with what is going on beyond the window of important narrative interest. In Damnationthis isn't so, as Karrer is looking at nothing more than the coal buckets passing in the medium distance. What intrigues the director is an abstract element beyond character rather than Karrer's curiosity, and what counts is not to set the story in motion, but the camera. It is as if the camera is autonomous as it slowly reveals a man looking out of the window, but withholds showing his face as the camera pulls back and shows the rear of his head. The first few minutes bring together two common details in the director's work: characters looking out of windows, and walls laterally passed, details that add to the director's yen for refusing the anthropocentric.
Now it happens to be the case that sometimes this looking contains a narrative dimension (Satantango, The Man from London) sometimes not (Damnation, The Turin Horse), but even when it possesses active curiosity rather than passive gazing, the film plays up the passive element. In Satantango, Peter Berling's burly homebody spies on the neighbours and takes notes in his little black book; the figure in The Man from London is watching a fight take place and a man falling into the sea. In Satantango, Tarr is more interested in the wheezing, hefty man hauling himself around his small apartment than he is in getting the story moving. In The Man from London, the elaborate shot that opens the film is as important as any content within it. In Damnation the passivity is played up: what can he possibly be seeing looking at the coal buckets? In The Turin Horse the inertia is even more in evidence. There are a number of occasions where we see the film's two leading characters, a father and daughter, looking out of a small window in their farmhouse, at nothing in particular. But whether the scene hints at narrative to come, or denies its likelihood, what matters is filming the sequences in a way that the emphasis doesn't lie in action, but the emptiness that surrounds it. When Tarr films ceilings or walls he does so not because there is anything interesting to look at there, but to emphasize a context that diminishes human agency, even responsibility.
This is partly what we mean by saying that Tarr creates a universe. Where most filmmakers tell a story, Tarr films its relative absence. Our example of the purse and the knife are instances where the director focalizes the telling: the director tells the story with telling images. Tarr concentrates instead on the emptiness that potentially surrounds any story that we might tell, if we call into question the agency of the characters, the concreteness of motive and the state of the world. Yet would Tarr's films have the same impact if they were made in colour? Does monochrome give them the otherworldliness they seek? Where the mid-eighties Almanac of Fall plays with using different colours to separate the planes, with say a chair lit by green in the medium plane while the curtains in the distant plane would be reddish tinged, the film perhaps became more artificial than indicative of a parallel universe. Watching it one can see Tarr refusing realism but falling into mannerism as the film resembles late Fassbinder works like Querelle, but without Fassbinder's particular sensibility. It feels like an experiment in colour, but not quite like a Bela Tarr film as we have come to know it. This is true also of other early Tarr films like the fly on the wall approach to Family Nest, and the anthropological specificity in TheOutsider. They don't quite suggest the discovery of a universe.
It is as though the director and his now regular team of editor Agnes Hranitzky, composer Mihaly Vig and writer (the novelist) Laszlo Krasznahorkai found a means to build a world based on escaping certain assumptions and couching them in monochrome. When Krasznahorkai talks of the sentence it is similar to how Tarr uses the camera. "... the short sentence is artificial - we use almost never short sentences, we make a pause, or we hold on a part of a sentence end ..."he reaches for it with his left hand as it passes "... but this characteristic, very classical, short sentence - at the end with a dot - this is artificial, this is only a custom, this is perhaps helpful for the reader, but for only one reason, that the readers in the last few thousand years have learned that a short sentence is easier to understand, this is also a custom, but if you think, you almost never use short sentences, if you listen ..." (Guardian) If cinema often uses short shots to tell the story, most writers use shorter sentences to do likewise. But the long sentence can give to the work a particular breath that writers like Saramago, Bernhard and Krasznahorkai utilize in their novels, as the story gets deliberately lost in the complexity of the syntax. Something of the same happens with a certain approach to cinematic syntax also. If Tarr had worked in shorter takes, then some of the narratively superfluous information he provides would carry a much greater burden of meaning than it does through the long take. When he opens on shots of a ceiling, or of a wall, or allows his camera to pass along a building, Tarr builds the details into the shot so that the detail doesn't ask us to question its presence as a brief shot might, but instead asks us to see it as part of a wider choreography. It doesn't announce its apparent irrelevance, it becomes simply a component of the long shot that has its own logic. This is even the case in more mainstream-oriented long take films like BoogieNights, where the long take has to absorb everything on its way to the narratively informative. At the beginning of Boogie Nights, the film introduces us to the main characters before concluding on Mark Wahlberg's leading figure working at the bar, but the film observes various superfluous characters too as it holds to the one lengthy shot. The difference with Tarr is that he will play up the smaller details and downplay the narratively pertinent ones, so that when in Damnation he shows Karrer waiting outside his lover's place until the husband leaves, the story aspect will be embedded within a larger feel for location, meteorological conditions (it is often windy and raining in Tarr films), and the weight on an individual's soul - even, as we will see, a horse's.
In The Turin Horse, a lengthy sequence where the two leading characters try and get the horse out of the stable is a variation of Bartleby's I would prefer not to. Following in the tradition of Melville and Kafka's The Hunger Artist, Tarr films the resistance in the soul of the beast, a horse that has been shown an alternative ,taking into account the story that opens the film. Here a voice over tells us of the moments before Nietzsche's final breakdown, where he saw a horse being brutally beaten by its owner. Nietzsche goes over to the horse, puts his arm around it and sobs. Later he goes home, lies down and becomes insane for the remaining eleven years of his life. Nobody knew what happened to the horse, but this is where Tarr's film picks up, as he ignores completely Nietzsche's break down and concentrates instead on the horse's equivalent. It is a horse that would prefer not to as Tarr focuses on the impossibility of the father and daughter's life, and the no less difficult existence of a horse that seems to know even better than the father and the daughter that life is not worth the effort. Tarr combines the long take method which possesses its own logic - a logic that insists that wherever you start a shot from you must follow through on all the information contained within that shot - with what balances the sequence: the exploration not of an action but a condition. The state if the soul. BoogieNights will possess the same syntactical reasoning as a Tarr film, but the purpose will be quite different. The lengthy opening to Boogie Nights captures frenetic activity in the club, but concludes on the despondent Walhberg wishing he were more central to the action. The typical Tarr take indicates much more the shape of someone's ontological aspect. This can sometimes be the illumination of a positive soul (the holy fool figure played by Lars Rudolph in Werckmeister Harmonies; the beast in The Turin Horse), sometimes negative: Karrer in Damnation, Peter Berling's character in Satantango, and sometimes in between. One can think of the young girl and her horrible cruelty to the cat in Satantango, but see her as both an innocent and a victim simultaneously: she is treated badly by others and takes it out on something more helpless still.
Thus we notice that Tarr's work is very interested in capturing the temperature of the soul, and that his lengthy takes find their balance in this enquiry. However, we have also insistently proposed that monochrome is vital to his filmic universe, and we don't want to be overly symbolic when we say it reflects well his interest in the notion of a world of black and white morality, of good versus evil. Yet alongside David Lynch, Bela Tarr is a filmmaker of immense formal vigour who at the same time couches this originality within a moral system that is often regarded as outdated next to the developments in psychiatry, sociology and biology. However, if we've invoked Serres talking of agency and the body, we can also think of fellow French philosopher Alain Badiou and remarks made in an interview 'On Evil'. Here the interviewers Christopher Cox and Molly Whalen discuss in their introduction the problem of evil that has fascinated philosophers from Socrates, Leibniz, Augustine and Kant, and see its return in contemporary philosophy under the influence for example of Lacan. Badiou couches the problem of evil in a rather different way than we see in Tarr's films, but sees in it a similarly abstract purpose, however tied it happens to be to the givens of an act. In other words, Badiou is very suspicious of a well-known formulation that we can find in Levinas and Derrida concerning "respect for the other", which he feels "has nothing to do with any serious definition of Good and Evil. What does "respect for the other" mean when one is at war against an enemy, when one is brutally left by a woman for someone else..." as he believes what counts is the situation and not some universal application. But where Badiou gives concrete situations in which to couch questions of good and evil, Tarr offers instead filmic universes in which similar notions can be played out, and plays them out all the more incisively through using monochrome. In this sense we can understand why Tarr insists that there are no abstract things in his films, evident when he says there "are very simple and definite scenes in the films and we try to think a little about the quality of life, because everybody has just one single life and it does matter how they live that one life." (Enthusiasm)
Yet his characters act as if controlled by forces stronger than their own will in locations that deliberately lack ready verisimilitude. Whether it happens to be the coastal town in The Man from London, the isolated farmhouse in The Turin Horse, or the village made up of numerous locations in Damnation, we can't locate these places on a map, and equally we cannot quite locate them in a realistic ethical world where people are fallible chiefly because of the everyday quandaries that we can readily understand. A film like Psychomight be a genre work, but it still places us in a location (Phoenix), in the work environment (Marion is a bank employee) and in her ready motivations: she steals the money from the bank so that she can start a new life with her lover who is trying to get out of a failed marriage but doesn't have the money to hand. Good and evil become irrelevant next to pragmatic needs, and even later Norman Bates's actions are justified in psychological terms. Hitchcock sets the scene beautifully, but he doesn't expect us to assume that the tensions come out of the milieu. This is what Tarr does expect, so that the desultory rain, the vicious wind, the cruel cold all invite pathetic fallacy but not at all the anthropomorphic. It's as if Tarr set out to invert the Camus problem in The Outsiderconcerning the sun's influence of Meursault's murder of an Arab, and wonders what deeds can take place in a cold climate. Good and evil (and mainly evil) seem to come out of the environment more than the strong motivations of the characters, so that even if we do have Karrer's desire for a woman in Damnation, it functions not very differently from the horse's refusal in The Turin Horse or the mob's reactions in Werckmeister Harmonies. By removing the focus on the humanly motivational, Tarr opens up his films to forces that can't be so centrally located.
Thus while we might not agree with Tarr's insistence that he isn't interested in metaphysical things, we can see that his fascination is in the concrete sense of screen space that is both unreal in its geographical coordinates and visualized in a style that undermines our ability to understand what is perhaps going on in his characters' minds. If Tarr ignores the metaphysical, it is in the sense that he is not at all concerned with it in its Cartesian formulation: I think therefore I am. If characters often look out of windows in Tarr's work we shouldn't be musing over what they might be thinking, but instead the general absence of thought as they do so. When the daughter in Turin Horse spends much of her time seated by the kitchen window, our interest lies not in what thoughts she might be having, but the emptiness of the view in front of her and how matched it might be by what is in the back of her mind. This is not at all the Kuleshov effect where a fixed expression on an actor's face is read in various ways based on the counter shot, so that a man is seen to be mean, kind, cruel, hungry or sad because of the image of a baby, food, violence etc. In The Turin Horse there is a moment where the camera, which has usually given us the shot from inside the house of the daughter's gaze outwards, shows the reverse angle and looks back at the daughter from outside the farmhouse, slowly moving in on her as she looks out. It is a shot of devastating emptiness, of the human as null and void, and for all cinema's achievement of getting inside a character's head when it doesn't possess literature's immediately evident ability to do so, we realize at the same time how rare it is to show a character who is not thinking at all. In The Turin Horse it isn't that the director wants to give the horse the characteristics of human feeling as we watch while it prefers not to, but that he removes from the human the psychological characteristics that can turn this preferred state not into an existential choice, but into a mental evacuation.
States of good and evil come in consequently less as strong motivating factors, but more as strong forces against the weakest of characters. Rudolph's figure in WerckmeisterHarmonies is probably the closest to a good person, though the daughter in The TurinHorse possesses some of the same qualities. But theirs is a goodness that passes through them as the bad passes through Karrer in Damnation, through the mob in WerckmeisterHarmonies, the villagers in Satantango. They all seem like empty vessels capable of allowing forces to enter without much thought or consequence. Even the visitor in TheTurin Horse who comes to buy potato-based alcohol unleashes a speech that though initially appears politically motivated, turns into an incantatory rant; finally more focused on the needs of unleashing anger and resentment than on a coherent view of oppression. The betrayals in Damnation and Satantango (where everyone is spying, cheating or destroying each other) are examples of human moral frailty rather than personal gains, with no one really capable of explaining their actions, but driven by powers beyond their ready ken.
Black and white at a time when colour cinema is the norm can give to such 'thin' characterization a visual alibi: it can ask us not to take this world for our own and not to look for actions causally generated from complicated psychological structures. It can generate a monochromic force field that doesn't allow us into the film but quite deliberately keeps us slightly removed from its workings. As Tarr says: "It's very simple. If you want to make a colour movie, and you go out onto the street, and you want to create the right atmosphere, you must paint the whole street, because every house is red, blue, green and so on. And you have no colours, you just have some colour chaos. For me it's a kind of naturalism, the colour movie. With black and white you can keep it more stylistic, you can keep more of a distance between the film and reality which is important." (Sensesof Cinema) The combination of Mihaly Vig's music, whether sweetly reflecting the innocence of Janos (Rudolph) in Werckmeister Harmonies, or insistently repetitive and capturing the world at the end of its tether in The Turin Horse, the various cinematographers' camera movements around the centre of actions in all the late films, and Krasznahorkai's dialogue that allows things to be said without saying anything, generate a universe indeed. It manages brilliantly to create a world in parallel to our own. It indicates the core of our being without diluting it through the many and myriad actions that give a superficial impression of purpose and meaning, but that might finally be a futile distraction from the final futility of our existence. Such is the world Tarr offers.

redpajama_set_name: RedPajamaCommonCrawl


Hardship transforms people, and none more so than the protagonist of Nomada Studio's new title Gris. The Switch/PC title coming in December chronicles a young girl's journey through the pains of life, her emotional growth transforming her own abilities and the world around her.
The game's a platformer filled with puzzles and skill-based challenges, but according to the Barcelona-based developer, does not include "danger, frustration, or death." Regardless, the protagonist's journey is also reflected in her dress, which gifts new abilities to her that lets her explore new areas in the world.
Gris will be playable this month at Gamescom and PAX West, so we'll let you know more about the title if we get our hands on it.


text:
My essential request was (and is) to find a new way for alchemy today. All the hints that science knows nearly nothing etc. are right, the animosity of alchemists against science is to my opinion wrong. What else are we (scientists) doing in our hardware- and mind-laboratories than working out alchemy? We separated the elements, we found a new universe, we worked out the old dream of transmutation, we liberated the fire in the heart of matter and transformed it into bread, we found remedies for a longer life, we recovered the basic nature forces in the background (gravitation, weak force, electricity, strong force), we recovered a new universal valid agens: structure and information, etc., what is all that when not alchemy? Alchemy was our mother, but now she is a grandmother, faded and exhausted. She gave us the initial questions, with them we started and kept successful until today. And now, as we have a lot of new questions since long, she has no answers for us, only repeats the old statements and pictures like a soul-less robot. She has lost her overview, her power for synopsis is gone. She worked once successfully with matter, she tried to work later on with energy (but that became already mystic and esoteric), she lost by sleeping the "great work" with information. She was not able to transmute herself into the modern setting. She works like every ideology: her old axioms are petrified, her language is no longer understandable, her implications no longer plausible, she lost the cultural keys for keeping connected to the development. That does not mean that alchemy is superfluous. The opposite. To my opinion we would imperatively need a new, living alchemy in a time, where the cultural plausibilities (not only of the Occident) are descending, the structure of societies is hit, the consciousness is struggling more and more into chaos. In former times alchemy implied great ethical ideals, it was religion, science, philosophy, it was holistic. That holistic or synoptical overview would be what we need today urgently. Why not deliberate if alchemy could form such a overview - in former times it was able to do so! We should trace the historical important ideas of "the royal art" on one side and connect them with historical elaborations of themselves and further provable historical implications and interactions on the other side. Then we could recognize where the development stopped and analyse why it stopped. After we could create kernels of alchemistic idea-conglomerates. Then we would have to extrapolate these kernels to the modernity and develop them sensibly or to make new, modern kernels and to connect them with actuality (neurosciences, linguistics, physics etc., etc.) (Eventually producing a change of paradigm...) That would be a kind of matrix for the further development of alchemy as a holistic science, and we would be able to get sensible predictions out of it (in a scientific manner, alchemy was science!!)
Member of the Internet Link Exchange
The argument would be that alchemy has diversified into the different kinds of human knowledge and activities (that is necessary, because in former times most kinds of knowledge and investigating-activities simply did not exist). With that basic structure alchemy could have professorial chairs in universities. That kind of new alchemy would even have important cultural spin-off effects: - a new connection between the object-orientated perception of former times with the structure-orientation today - the connection between the quality-reception of world (symbolism and semantics) in the middle ages and the quantity-reception (syntax and (pragma)) of today - the connection to the decline of anthropocentrism from "king of the universe" to "meaningless dust" (evolution theory, but evolution was an original theme of alchemy!) - from the dream to understand the world to the bitter realisation of an even not-knowing-myself (perception and language, also an original alchemistic theme: e.g. kabbala) - and so on.... To give one example for the power and implications which an alchemy could have when worked out into modernity: An Arabian alchemist (scientist), I think to remember it was Al Kindi, tried to find numerical values for what we call "quality" or "attributes" of the objects of perception. He constructed a very sophisticated system, quite plausible in those times, and he was able to make astonishing and correct predictions with it. (If someone is interested, I'll find out where I found it). Modern thermodynamics (Prigogine et al) and the science of "synergetics" have the same problem, but they go another way: they try to find out how quality emerges from quantity, and then to make it numerical describable. (The middle-ages tried to deduce quantity out of quality). The problem is much more important than it seems on the first view. This above explained would be my dream of the future of alchemy.
Waldemar Hammell
Member Html Writers Guild
TO AGES OF ALCHEMY


[Summary By: Love_Blossom] Wakatsuki Ran is a swimming prodigy. Every girl adores him but the only thing he loves is swimming. Ageha bumps into Ran, one day, and she tells him that he is just an obsessed swimmer. But when he shows her how good he is, she gapes at him and asks, "Please teach me how to swim!" Ran finally agrees and the swimming romance begins.
Copyrights and trademarks for the manga, and other promotional materials are held by their respective owners and their use is allowed under the fair use clause of the Copyright Law. © 2018 MangaHere. Current Time is GMT 20:55 下午.


text:
Coenotephria fuscofasciata är en fjärilsart som beskrevs av Charles Oberthür 1929. Coenotephria fuscofasciata ingår i släktet Coenotephria och familjen mätare. Inga underarter finns listade i Catalogue of Life.

Källor

Mätare
fuscofasciata

redpajama_set_name: RedPajamaWikipedia


How to find your purpose in life? The Venn diagram below has appeared several times on the social networks I use. In my opinion it is very interesting and makes me think, so I would like to share it with you and make some personal comments.
Probably there are many things that we love but that we are not great at. But the opposite is not true: I don't believe we may be great at something we don't love. I think that nothing is more effective than enthusiasm. Thus in the Venn diagram above, all the things we are great at should fall in the intersection with the things we love. I talk more about that in my post about the 10,000 hours rule.
On the short term we may be paid to do something even if we are not great at it. But on the long term we will only be able to hold a good job if we are great at it. So on the long term there is always an intersection between being great at and being paid for something. Moreover, being great at something is not simply a status we reach and then enjoy. Being really great requires continuous improvement.
I believe that if we are being paid for something it is because the world needs it. Thus all the things we are being paid for fall in the intersection with the things the world needs. Of course there are lots of people working as volunteers on things that the worlds needs. But I also believe that if there is something that the world needs, there will always be someone willing to pay for it.
All the things we are great at fall in the intersection with the things we love.
All the things we are paid for fall in the intersection with the things we are great at.
All the things we are paid for fall in the intersection with the things the world needs.
It is also important to spend time with people you enjoy at work. After all, that is where you spend most of your time.


text:
Australian Discovered Nickel In Dangoma, Northern Nigeria
Streaming AdminAugust 29, 2016 7:25 pm 0
A private mining syndicate is reportedly headed by Hugh Morgan, a mining industry veteran. Is said to have discovered nickel deposit in a town in the north which said to be over a hundred of kilometers from the country's capital. Dangoma is a small farming community North-West state of Kaduna.
Report monitored from Australian national news daily, The Australian, the nickel balls, rumoured to grade better than 90 per cent nickel and thought to be a world first given their widespread distribution, offer the potential for early cash flow.
Nickel is a chemical element with symbol Ni and atomic number 28. It is a silvery-white lustrous metal with a slight golden tinge. Nickel belongs to the transition metals and is hard and ductile.
"The nickel balls, rumoured to grade better than 90 per cent nickel and thought to be a world first given their widespread distribution, offer the potential for early cashflow from a simple and low-cost screening operation to fund a full assessment of the find that has exploration circles buzzing."
However, details of the discovery are sketchy, according to the Australian national news, but the newspapers said, "the discovery is unusual because the nickel is found in small balls up to 3mm in diameter of a high purity in shallow soils in what could be the surface expression of a much bigger hard-rock nickel field."
Morgan reportedly said it was for the Nigerian government to make an announcement.
A formal announcement is likely to come in few days to come as minister for Solid Minerals, Kayode Fayemi will be among the speakers at a three-day Africa Down Under mining conference at Perth's Pan Pacific Hotel, Australia, in September.
Also read : What, Where & Why Nickel is Used
Mr. Fayemi is to speak first on Wednesday, September 7, while Mr Morgan will follow along with consulting geologist Louisa Lawrance.
Nickel is said oxidizes slowly at room temperature and is considered corrosion resistant. Historically, nickel has been used for plating iron and brass, coating chemistry equipment, and manufacturing certain alloys that retain a high silvery polish, such as German silver.
CATEGORIES DomesticEconomyForeignNews
TAGS Australian Discovered nickel In NigeriaKayode FayemiMinister of Solid Mineralsnickelnickel Discovered In NigeriaNigeria Discovered Nickel
AUTHOR Streaming Admin
NEWER POSTRihanna Receives MTV Video Vanguard Award 2016
OLDER POSTFIRS Launches Recruitment Programme


Televic Education forms a part of the Belgian Televic Group, that was founded in 1946, has over 600 employees and offices around the globe. Televic develops, produces and implements high-tech communication systems for specific niche markets.
Focused on e-assessment, Televic Education is a global leader in education technology innovation and solutions. With their new interactive and online Edumatic platform, they are now able to build, test and measure knowledge better than ever before.
After having the chance to work side by side, ProctorExam realized that many of its clients are also users of Televic's Edumatic assessment application and that both companies share a similar target group.
VIVES University in Belgium and the Flemish Ministry of Education, who are offering distance learning packages for its students, are using both ProctorExam's and Televic's technology. Studying at distance but having to come back to Belgium for every exam wasn't very convenient for the students, so the next logical step for VIVES University and the Flemish Ministry of Education was to not only provide flexible and distant education but also flexible and distant assessment.
VIVES' mission is strongly focused on empowering students to take charge of their education, which is why they allow students not only to take their exams online.
By partnering, ProctorExam and Televic can provide not only the academic organizations in Belgium, the Netherlands, and France but also corporates, the opportunity to do secure digital assessments in a flexible way.
The Flemish Ministry of Education and Vives University both have many expat families enrolled, while living all over the world. As opposed to these expats having to travel back to Belgium in order for their children to continue the Flemish education, we decided to start providing them with ProctorExam's infrastructure as a service. With our technology, they are able to complete a Flemish education while living outside of Belgium. It's a very exciting step.
The biggest benefit of ProctorExam's partnership with Televic is that organizations can now have access to a very secure way of doing digital assessments, used in a remote fashion. The test taker won't have to travel to a test facility anymore. They will now have the possibility of being assessed from any location or environment they choose, which is a very big step forward for many corporations, education institutions, students and employees all over the world. A benefit for both ProctorExam and Televic is that they are sharing their networks and clients reciprocally, increasing their market reach and visibility, and therefore leading to more clients benefitting from their innovative remote testing technology.
We can provide our clients with a one fit solution. As opposed to having one part of the solution, these organizations can now receive the entire digital assessment process in a very flexible and secure way.
With the reputation Televic currently has in the Benelux region and France, and with ProctorExam's technology, this partnership will lead to a combined network of clients that will grow much faster than before, when the two companies were operating individually.
The future focus will be on both the corporate and educational market, which will exponentially grow in the near future. This partnership will bring a centralized solution for any institution that needs remote testing for its employees or students, opening up new possibilities for many companies. More and more institutions will turn to remote assessments technology, as it is a much more efficient, effective and secure way of mass examination. With the combined knowledge and power of two leaders in the industry, Televic and ProctorExam, assessment will be more accessible and developed than ever before.
This partnership is a win-win-win situation; the win for Televic is more visibility and the opportunity to sell more, the win for ProctorExam are new customers who use their infrastructure as a service, and the win for the customer is that we offer a one fit solution.


Marriott International (NASDAQ: MAR) today announced that it has adopted a plan to remove disposable plastic straws and plastic stirrers from its more than 6,500 properties across 30 brands around the world. Once fully implemented in one year, the company could eliminate the use of more than 1 billion plastic straws per year and about a quarter billion stirrers. A single plastic straw – which might be used for about 15 minutes – will never fully decompose.


text:
Cavendish makes it four on Champs-Élysées
By Barry Ryan 22 July 2012
World champion turns his thoughts to London Olympics
World champion Mark Cavendish (Sky) won the Tour's final stage in Paris for the fourth straight year. (Image credit: Bettini Photo)
World Champion Mark Cavendish (Team Sky) beat Sagan and Goss in Paris (Image credit: Sirotti)
Stage winner Mark Cavendish (Team Sky) (Image credit: Sirotti)
World Champion Mark Cavendish (Team Sky) (Image credit: Sirotti)
A man overlooked for much of Sky's Tour de France campaign, Mark Cavendish offered a timely reminder of his indisputable qualities on Sunday as he powered to his fourth consecutive stage victory on the Champs-Élysées.
Video: Rod Ellingworth on Mark Cavendish's form
Cavendish sprints to stage 18 victory in the Tour de France
Cavendish gets his 22nd Tour de France victory
Brailsford: Cavendish proves he is in a class of his own
The final day of the Tour might well have been Bradley Wiggins' party but Paris' most famous boulevard has become Cavendish's private fiefdom. When Edvald Boasson Hagen led him across the Rue de Rivoli and into the finishing straight, there was more than an air of familiarity about proceedings.
"I planned to go at 300 to go. I knew I could go long, especially with the wind today," Cavendish said. "You could go slightly early. I was going to go at 300 but we came around the last corner at such speed that I thought I'd just use my acceleration now and hopefully distance the other guys and hold on."
The Manxman held on and more, distancing and then outstaying Peter Sagan (Liquigas-Cannondale) and Matt Goss (Orica-GreenEdge) to take his third stage win of the race. "It's an honour to be the first guy to wear the world champion's jersey while winning on the Champs-Élysées," he said.
Cavendish's rainbow was not the only distinctive jersey on show in the Sky line-up on Sunday, of course. He paid tribute to the efforts of Wiggins, who strung out the peloton on the final lap of the Champs-Élysées circuit, and his dauphin Chris Froome, who put in a lengthy stint on the front in the finale.
"It's incredible to have the second on GC controlling the breakaway all day and then the yellow jersey himself leading out me and Edvald out," Cavendish said.
With Sky's energies devoted primarily to the defence of Wiggins' yellow jersey, Cavendish had been largely left to his own devices in the bunch sprints, at least in comparison to his time as the only show in town at Highroad. Nonetheless, he insisted that it had not been a chore, and instead insisted that it augured well for next Saturday's Olympic Games road race in London.
"It's not been a difficult Tour," he said. "We got first and second on GC. For sure, I've missed opportunities as a sprinter but we've got the yellow jersey and won six stages as a team anyway. Seven British stage wins out of 21 and four from guys who are in the GB Olympic team for next Saturday, so we're looking forward to that now.
"Today, winning on the Champs-Elysees, was a big red cherry on top of a beautifully made cake for three weeks and it was an honour to be part of it."
By Cavendish's own high standards, his three stage victories might even rank as a quiet Tour, but his haul still equals that of André Greipel (Lotto Belisol) and Peter Sagan (Liquigas-Cannondale) and his running total of stage wins now stands at a remarkable 23.
It was not by chance, then, that L'Équipe voted Cavendish as the greatest sprinter in Tour history during this year's race, a result that met the approval of no less a figure than André Darrigade. "I'm happy that, on numbers at least, I can be secure of that award," Cavendish said.


text:
Feminists protest conservative female speaker, retreat to 'safe space'
Kaitlyn Schallhorn Reporter at Fox News @K_Schallhorn on Apr 22, 2015 at 10:03 AM EDT
Feminist students at Oberlin College in Ohio protested a talk given by Christina Hoff Sommers Tuesday evening.
The students, who felt the event needed a "trigger warning," opened up a safe space for their peers who might need to "decompress" during or after the event.
The feminist students said they would be "gatekeeping" the event to exclude those who they felt would be toxic to the safe space.
Right before Christina Hoff Sommers, a venerable scholar and author on modern feminism, took the stage at Oberlin College, feminist students encouraged their peers to join them in a separate location which they deemed a "safe space."
But many feminist students stayed for the event and filled the entire first three rows of the auditorium. While some students jeered and mocked Sommers during her almost two-hour presentation on feminism, those in the first few rows sat silently and stared directly at Sommers with duct tape covering their mouths.
"I hate to say it, but some of those students need the services of a professional deprogrammer. What I saw was very cult-like."
Sommers estimated more than 300 people attended the event, not including those who "retreated to a 'safe room' nearby."
Handmade signs were also placed around campus, as reported by Third Base Politics.
"Christina Hoff Sommers & OCRL [Oberlin College Republicans and Libertarians] support rapists!!" one sign said.
"Fuck anti-feminists," read another sign.
In a video posted to YouTube by Third Base Politics, two female students encouraged their peers to "take care of" themselves and read Oberlin's sexual misconduct policy that were distributed throughout the auditorium by the students prior to Sommers's event. The two females used air quotes to mock those who attended the event "to hear both sides of the story" and said they would be available to speak to those who wish to have a deeper conversation after the event.
"And just so everyone is aware, we will be gatekeeping the [safe space] event, so if we feel that you are a toxic, dangerous, and/or violent person, we're not going to allow you into the event, so please keep that in mind," one of the students said in the video.
"It was such a strange experience," Sommers told Campus Reform. "The students were so carried away with the idea that I was a threat to their safety—the Oberlin officials became alarmed—about my wellbeing. They arranged for security guards to escort me to and from the lecture to protect me from the safe spacers."
Sommers said students "hooted, hollered, jeered, and mocked nearly everything" she said.
"I doubt my appeals to reason and rules of evidence made much of an impression," Sommers told Campus Reform. "I hate to say it, but some of those students need the services of a professional deprogrammer. What I saw was very cult-like."
According to her Twitter page, several students did quietly thank Sommers for her talk and apologized for their peers' behavior.
As previously reported by Campus Reform, Oberlin feminists decried the event put on by OCRL. The female students, many of whom declined to comment to Campus Reform for the article, said on the event's public Facebook page that Sommers' presence on campus made them feel "unsafe."
But it's not only the feminists at the Buckeye State's Oberlin that have accused Sommers of being a "rape denialist" and "misogynistic." Sommers was met with the same lot of accusations during a talk last week at Georgetown University in Washington, D.C.
Sommers is a scholar at the American Enterprise Institute and host of the weekly Factual Feminist series.
Follow the author of this article on Twitter: @K_Schallhorn
Kaitlyn Schallhorn | Reporter at Fox News
Kaitlyn Schallhorn is a Reporter at Fox News. Prior to joining the Fox News Team, Kaitlyn was a Reporter for Campus Reform, covering liberal bias and abuse on campus. She has also written for Red Alert Politics.
20 Articles by Kaitlyn Schallhorn
OPINION: The politicization of sexual assault
The more the left force-feeds the public false stories and statistics, the more doubt will surround victims, both real and imagined.
Kaitlyn Schallhorn Jun 15, 2015 - 10:09 AM EDT
Public school gives LGBTQ students special study lounge
"It's going to be huge."
Cabot Phillips and Kaitlyn Schallhorn Jun 11, 2015 - 4:36 PM EDT
Summer reading: Duke freshmen to study oral sex novel and masturbation cartoons
Another cartoon depicts Bechdel engaging in oral sex with another female while reading James and the Giant Peach to each other.
Marquette U. staff, faculty petition over removal of convicted cop killer mural
"Just what kind of people would blame Marquette, and refuse to come to Marquette, because Marquette would not allow a cop killer mural on campus?"
Kaitlyn Schallhorn Jun 08, 2015 - 3:55 PM EDT
Columbia University 'Mattress Girl' films rape porno depicting alleged rape
"If you watch this video without my consent, then I hope you reflect on your reasons for objectifying me and participating in my rape, for, in that case, you were the one who couldn't resist the urge to make Ceci N'est Pas Un Viol about what you wanted to make it about: rape."
Kaitlyn Schallhorn Jun 05, 2015 - 7:46 AM EDT
Arizona State has doubled tuition, finds $500K to give to Clintons
Despite both Hillary and Bill receiving huge speaking fees, Hillary claimed last summer that her family left the White House "dead broke and in debt."
Kaitlyn Schallhorn May 28, 2015 - 9:35 AM EDT
Prosecutor encourages Notre Dame students to report rapes, assaults to county, not school
"The more people see others step up and reporting, the easier the decision becomes for yourself."
Kaitlyn Schallhorn May 22, 2015 - 3:21 PM EDT
Female students go topless to protest gender inequality, public indecency laws
"Bring your curiosity, forget your shirts, and most importantly bring your love, compassion, and support for the cause."
Kaitlyn Schallhorn May 22, 2015 - 11:50 AM EDT
Public university hosts special graduation party for illegal immigrants
"And I hope that you know how much you are loved and how much sacrifice went to having you here and that no piece of paper, no piece of paper, not even that diploma, can stop you from being your fullest possible self."
Columbia University flooded with 'RapeHoax' street art
Sometime overnight, dozens of posters sprung up around Columbia University's New York City campus, deeming Emma Sulkowicz, the student who garnered national media attention when she began to carry her mattress around with her, a "pretty little liar."
Troy University: more 'secure' men will eradicate campus sexual assault
"Secure men are sensitive to others. Explore your own insecurities & live your life in a way that is non-threatening to women."
Student sues university after failing course twice, says school didn't fully accommodate mental illnesses
As a result of the failure, Burbella was unable to graduate with a nursing degree.
ASU students: 'walk-only zones' are 'microaggression' to disabled people
"I was on crutches for 5 weeks and felt uncomfortable when seeing this sign."
Florida college: Tone of voice can be sexual harassment
"[Sexual harassment] also can occur through innuendo, attitude or voice inflection. It often is not what is said, but how it's said."
Kaitlyn Schallhorn May 13, 2015 - 12:13 PM EDT
Dartmouth College panel: gay men are misogynistic, too
"And being gay (...or human) does not absolve you of accountability."
Gay alliance bashes university for hosting debate with conservative Christian author
"It's time Stony Brook took homophobia, queerphobia and transphobia seriously."
Michelle Obama to deliver speech at Oberlin College, no 'safe spaces' in the works
While a visit to Oberlin College from an equity feminist prompted protests, safe spaces, and ridicule, the news that First Lady Michelle Obama will give a commencement speech at the liberal arts school has been met with excitement by most.
Professor fails student for refusing to condemn her Christian faith
"Finally humanity and the gods are on equal footing and that is what the myths of Hercules, Apollo and Jesus are all about—the divine becoming human and human being divine."
University upset that liberal protesters were filmed at public event
"It should be a shock to no one that they were on camera. As protesters, you would figure their whole mission was to get attention."
Kaitlyn Schallhorn Apr 28, 2015 - 11:00 AM EDT
Ivy students protest frat's Beyonce sex doll with mock slave auction
"For four months, I have walked in front of this house and have lost all sense of worth."
Kaitlyn Schallhorn Apr 26, 2015 - 4:41 PM EDT


text:
La ruta 31 es una de las rutas nacionales de Uruguay. Atraviesa el país de oeste a este, recorriendo los departamentos de Salto y Tacuarembó.

Designación
Esta carretera fue designada con el nombre del Coronel Gorgonio Aguiar por ley N.º 15497 del 6 de diciembre de 1983.

Trazado
Esta carretera tiene su kilómetro 0 en la ciudad de Salto, más exactamente en el Obelísco a José Enrique Rodó de la ciudad. Atraviesa el departamento de Salto en dirección oeste a este uniendo las áreas rurales y algunas localidades pequeñas con la capital.

En el km 86, se une por un empalme con la Ruta 4, por la cual la ciudad de Artigas se comunica con la ciudad de Salto. Luego ingresa al departamento de Tacuarembó para finalizar en su capital Tacuarembó, recorriendo un total de 225 km.

Recorrido
Detalle del recorrido según el kilometraje:

km 00.000: Extremo oeste Monumento a José Enrique Rodó ciudad de Salto
 km 05.000: Empalme con
 Norte: a Represa de Salto Grande y Bella Unión
 Sur: a Paysandú, Young, Trinidad y San José
 km 12.000: Albisu
 km 13.000: Acceso a San Antonio
 km 58.000: Colonia Itapebí
 km 77.000: Rincón de Valentín
 km 81.000: Acceso a Biassini
 km 86.000: Empalme con
 Norte: a Biassini, Colonia Lavalleja, Sequeira, Campamento y Artigas
 Sur: a Celeste
 km 109.000: Camino de acceso a Pueblo Cayetano y Pueblo Fernández
 km 126.500: Acceso a Paso Cementerio
 km 175.000-181.000: La ruta es el límite departamental Salto-Tacuarembó

km 224.000: Extremo este ciudad de Tacuarembó conexión con  y

Referencias

Enlaces externos

 031


Consumerviews is a market research company that conducts both traditional and online market research on a variety of different topics and in a variety of different manners. They are looking for people to participate in a large selection of these projects, and they are willing to reward those interested in doing so.
At present they are conducting and facilitating a large selection of research projects. As far as traditional qualitative market research services, they are involved in focus groups, mini groups, triads, one-on-one interviews and brainstorming sessions. On the quantitative side, they are primarily focused on telephone and mall intercept surveys. In the online field, they conduct focus groups, one-on-one interviews, as well as other online studies that require a significant sample number. The fields that they have experience in include those of healthcare, financial services, consumer electronics, alarm services, and aviation amongst others.
When a relevant survey becomes available, Consumerviews will contact panel members with invitations and information on the available compensation. This compensation is usually in the form of a check for $5, or a similar value in coupons to be used on their client's products. The value of rewards and gifts do, however, vary according to the specific survey or study.
Type of Rewards: Cash cheque or coupons.
Type of Market Research They Conduct: Focus groups, mini groups, triads, one-on-one interviews and brainstorming sessions (online and offline).


Saturday, December 8th! The Town's Annual Christmas Parade! Now that we have your attention…the Town will be holding their Annual Christmas Parade on December 8 at 10:00am. The Parade route will be from Town Hall to the Community Center on Yuma. Make sure you come out to see the floats and wave to Santa! There might be candy!
If you would like to participate in the parade, sign up at Town Hall by December 5th. For more information contact Jennifer Fuller at 520-456-1354 or jfuller@huachucacityaz.gov.