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Yana Milev is a German cultural theorist, sociologist, ethnographer, and curator.

Life
Yana Milev was born in Leipzig, East Germany, the first child of the Bulgarian physician and anthropologist Gancho Milev, who had immigrated to the GDR in the early 1960s, and the Leipzig-based translator and interpreter Karin Fahr-Mileva. Upon completing secondary school in what was then still the GDR she began a course of study in scenography and costume design at the Dresden Academy of Fine Arts (HfBK) which she ultimately completed with a diploma conferred after German unification. Thereafter, she undertook postgraduate study as a master student of Günter Hornig. In the final years of the GDR, Milev was active in the country's subcultures. She became known for independent films, performances, and conceptual art.

Beginning in 1992, she was visible on the international art market as an artist affiliated with the Galerie EIGEN+ART (Leipzig and Berlin). In 1995, she became the first GDR artist to receive the Max-Pechstein-Prize. Likewise as the first GDR woman artist to do so, Milev exhibited work at documenta X in 1997. With the support of a fellowship from the German Academic Exchange Service (DAAD), Milev traveled to Japan, where she became conducted ethnographic studies and trained in the traditional Japanese martial arts Kyudō und Aikidō in Kyōto. In 1999, she earned the Sho-Dan of the Zen Nippon Kyudō Renmei (全日本弓道連) Tokyo.

Upon her return from Japan, in 2003 Milev was released by her gallerist Gerd Harry Lybke. Her top career as an artist was ending promptly and she was forced to embark on a new life course. Milev completed under the advisorship of Peter Sloterdijk a doctoral studies in philosophy at the Academy of Fine Arts Vienna and the Karlsruhe University of Arts and Design (HfG). To finance her PhD studies study, in 2004 she became an instructor and project leader at the Zurich University of the Arts (ZHdK), initially at the Institute for Design Research and, in 2013, at the Institute of Cultural Studies in the Arts (ICS). Simultaneously, she was active in undertaking curatorial projects at the Zurich University of the Arts and the Karlsruhe Center for Art and Media (ZKM). In 2008, Milev earned a doctorate with a dissertation in the field of political philosophy, evaluated by Peter Sloterdijk and Elisabeth von Samsonow (2nd reader) and awarded the summa cum laude honor. In 2022, the plagiarism platform VroniPlag Wiki published a report on multiple cases of alleged plagiarism in Milev's dissertation Emergency Empire published in 2009. According to the report, the book plagiarizes articles from the German Wikipedia.

In 2010, Milev became Visiting Research Fellow at the Research Institute of the HfG Karlsruhe, and in 2012 was approved to undertake Habilitation with the Seminar for Sociology at the University of St. Gallen (SfS-HSG). In 2014, she received Habilitation with a thesis on the topic of political design sociology, mentored by Franz Schultheis and refereed by Sigrid Schade, Oliver Marchart, and Ulf Wuggenig. In 2016, she held her inaugural lecture (Antrittsvorlesung) as an outside lecturer (Privatdozent) in cultural sociology at the University of St. Gallen, with an entitled "On Being Precarious in the Society of Symptoms.". At this time, Milev observed that academics socialized in the GDR and born between 1945 and 1975 were excluded from pursuing careers. In 2017 she initiated the research project De-Coupled Society: Liberalization and Resistance in East Germany since 1989/90, which has appeared in multiple volumes with Peter Lang since 2018. In order to undertake this project, Milev founded the independent platform AGIO | Social Analysis and Political Education.

In 1989 Milev met the violinist and photographer Philipp Beckert, her partner in collaborative projects to the present day. In 2020, Milev got her Settlement permit for Switzerland. She lives in St. Gallen and Berlin.

Work

Arts
At the end of the 1980s Milev enacted performances and produced experimental films, visual works, installations, and urban interventions. In the serial multimedia productions on the theme Horror Vacui, such as In Aspik, Einneonopern, Second Up, and Eine Messe, Milev worked in opera-like jam sessions with the musicians Bo Kondren (Ornament & Verbrechen), Paul Landers and Christian Lorenz (both members of Feeling B at the time, and now in Rammstein), André Greiner-Pol (Freygang), Taymur Streng (9 Tage alt), along with the poet Johannes Jansen and the performer Matthias Baader Holst. Films such as raster+psyche and irreversible were accompanied by live sounds, and mounted as concert-like performances in the context of different events, including in such venues as the Dresden Academy of Fine Arts, the Exhibition Center at Fučíkplatz, the House of Young Talents in Berlin (today: Podewil), and the Lindenpark in Potsdam.

In the 1990s, the focus of Milev's work shifted to spatial installations, with the collapse of the Eastern bloc thematized in her serial media installations under the title Exodus (I to VII). Milev continued working with elements of film and projection, and created projected spaces, or Projection Forums, that could be entered. These Projection Forums were featured at the Grand Exhibition Nordrhein-Westfalen in Düsseldorf (1993), in the Leonhardi Museum in Dresden (1995), in the City Museum of Zwickau (1995) and in the Gallery EIGEN + ART in Berlin (1996). In 1997, Milev was invited to documenta X by Catherine David, and presented the interactive spatial installation Projection Forum III in the Ottoneum. "The displacement of cultural spaces—in particular in Germany after the 1989 transition—is a topic that she also presented in 1997 at Documenta, to which she was invited by Catherine David as the first woman artist from a former Eastern bloc country. She calls the installation shown in the Ottoneum Projection Forum III: hanging from the ceiling, a rotating projector in a black housing casts slides of construction sites on the wall. Through the constant movement, a light frieze emerges as the individual images blend into a sort of film sequence. On the walls—dubbed a "public border" by M[ilev]—the projections remain blurry; only visitors who enter a circle inscribed on the floor—dubbed a "private border"—and hold up a piece of paper, or a scrap of the cardboard provided, receives a sharp, albeit ephemeral image. "The border," runs Milev's thesis, "is a sculpture of transition; social stability is an illusion, constructed and produced with many sacrifices." (Allgemeines Künstlerlexikon Online / Artists of the World Online, De Gruyter, 2020, ISBN 978-3-598-41800-6)After her long term stay in Japan, she developed new work style on the topic of Resonance Architecture. These new works and spatial installations were presented in numerous galleries and museums: "Zendō Items" at the Kunstraum Munich in 1998; "I submit! For the Resonance!" in the Galley EIGEN + ART in Berlin in 2000; "Resonance Architectur" in the Leopold Hoesch Museum in Düren also in 2000; "Doublewatch" at the Gallery EIGEN + ART in Leipzig in 2001; "In the 4th Dimension" in the Academy of Arts Berlin in 2002, and "In the 4th Dimension" in the Max-Gandolph-Bibliothek in Salzburg, Austria in 2004.

A turning point in Milev's artistic work can be identified in 2005. In labor-intensive studio- or exterior arrangements, scenarios were developed for capture exclusively as photographs. Work clusters emerge such as Body Dwellings, Me Myself & I – Release Your True Image, and The Storytellers Return, all collaborations with the photographer Philipp Beckert. Here too, Milev integrates citations from the martial arts, the Zen-Mondo, or the Japanese expressive dance Butoh, combined with fragments taken from pop culture. These artworks are presented as large-format glossy photographs in the Cloister Altzella (2005), the Octogon Art Hall of the Dresden Academy of Fine Arts (2006), and in the City Museum of Zwickau (2014). They consciously exhibit a proximity to fashion photography.

Other exhibitions by Milev took place in the Grande Halle de la Villette (Paris, 1990), the Museum of Installations (London, 1994), the Venice Biennale (1995), the Ottoneum during documenta X (Kassel, 1997), the Goethe Institute Osaka(1997), the Gallery Fons Welters (Amsterdam, 1997), the MoMA PS1 (New York, 1999), the SCA Gallery Sydney (1999), dem Haus der Kunst München (1998), dem Von der Heydt Museum Wuppertal (1998), dem Fridericianum Kassel (1999), the Museum Folkwang (Essen, 2000), the Kunstmuseum Bonn (2000), the Berlin Academy of Arts (2002), the New National Gallery (Berlin, 2003), the Max Gandoloh Library of Salzburg (2003), the Museum der bildenden Künste Leipzig (2006), the Kunsthalle Mannheim (2011), the Martin-Gropius-Bau, Berlin (2016), the Leopold Hoesch Museum Düren (2016), as well as other venues.

Currently, Milev is listed among the Global Top 100,000 in the ranking at ArtFacts.net. Her highest placement in the art-market ranking was in the Global Top 1,000 in 2000.

Artistic research
In 1987, the AOBBME project begins to wind itself through Milev's creative works as a red thread. The Association of Black Box Multiple Environments is based on the philosophy of the black box, invisibility and impenetrability. For Milev, the black box is an identity-construct that develops itself in the realm of the individual "microtopos" and retreats before the external world in response to a social intervention, a devaluation, or a stigmatization. In 1994, the AOBBME is incorporated in Berlin, as the Institute for Applied Spatial Research and Microtopic Cultural Production. "In 1994, in Berlin, she founds the one-person institute A.O.B.B.M.E. (Association of Black Box Multiple Environments), also known as the Institute for Applied Spatial Research and Microtopic Cultural Production: a project she had already begun in 1987 as a self-reflection and individual self-positioning by an artist not only on the art market, but in the social system as such. In continual shifts between roles and media, she reflects the biographical arena in its cultural counterpart; she herself understands these changes of position as a self-initiated, performative act of cultural adaptation." (Allgemeines Künstlerlexikon Online / Artists of the World Online, De Gruyter, 2020, ISBN 978-3-598-41800-6)The focus of this research is the thematization of the body as an archive of cultural inscription, and the formulation of techniques of the self. Milev names these techniques of the self a "living archaeology," and "de-urbanization." Numerous publications and a significant reception greeted these works by Milev. As early as the beginning of the 1990s, Milev articulates a demand for Artistic research as a condition of artistic production. A further transformational phase of Milev's artistic research occurs during her ethnographic studies and training in the martial arts of Kyudō und Aikidō in Japan. Milev calls this phase "Nippon Base Training." She develops the concept of Resonance Architectur as a characteristic found not only in the traditional martial arts (Budō) but in the traditional way of the arts (Geidō). The AOBBME institute is incorporated at this time as an Institute for Applied Resonance Research in Kyōto. In the discipline of Kata (stylized or choreographed movement sequences) and in the philosophy of Maai (distance), Milev discerns the key to a complementary ordering of perception. The methods of "kinaesthetic spatial production" extend the AOBBME project's ambit to include the thesis of the "crisis as a permanent spatial dimension."

Since 2018, the AOBBME is managed as an online archive of Milev's works and as a trademarked brand. For Milev, artistic research remains a scientific arrangement in which ethnographic, artistic, therapeutic or curatorial methods get knowledge and space production its starting point. On the basis of this principle, Milev continually defines the character of her current projects anew.

Cultural studies and social sciences
Milev's dissertation in Political philosophy on the State of exception and Sovereignty was published as her first scholarly monograph by Springer (Vienna, New York) with the title Emergency Empire — Transformations of the State of Exception (Part I: Sovereignty) in 2009.

In 2004, Milev began expanding her field of research to include design research. At the Zurich University of the Arts (ZHdK) in 2005, she founded Emergency Design, a research discourse thematizing the political, social, spatial, and aesthetic dimensions of survival. In Emergency Design, a new theoretical instrument for the diagnosis of social upheavals emerges from the connections Milev draws between, on the one hand, concepts in political philosophy such as the state of exception, the state of war, or the emergency as a cultural catastrophe, as a zone of anomie; and on the other, designing as a praxeological and sociospatial concept of action. The basis for Milev's discourse on Emergency Design lies in her experiences with the collapse of the GDR and the Eastern Bloc and the subsequent upheavals of the early 1990s."By connecting Milev's films of the 1980s to her theoretical work of the 2010s, we can see how she limned the duality of social design at a moment when a particuar anthropotechnic formation - that of East German socialism - was still in place and could therefore be committed to film, but had begun to fail. [...] Integrating her own performance practice into her work with film, she connected her embodied exploration of the foams, forces, and functions of space to a broader exploration already afoot, incscribing an individual practice into the social design she had rendered legible in moving images. In this way, her intermedial work and its filmic derivate become understandable as working documents of applied spatial research – and therefore as advancing an intellectual program that is of a piece with the theoretical sociology." (Seth Howes, Film Experiments, Design Anthropology, and the Politics of Vision: Yana Milev's Theory of Practice, in: Id., Moving Images on the Margins. Experimental Film in the Late Socialist East Germany, Camden House, NY, USA, 2019, pp.171-172, ISBN 1-64014-068-9) With the English-language anthology D.A. – A Transdisciplinary Handbook of Design Anthropology, published in 2013 by the international scholarly publisher Peter Lang, Milev formulates a complementary scholarly basis for design research. The concept of "anthropology" is used by Milev in its American sense as a superordinated concept of humanistic inquiry. Accordingly, the design anthropology is conceived by Milev as a complementary science of design in the field of the cultural studies, social sciences and politics. The anthology is organized in five books and eleven clusters: Book 1: Design Cultures, Book 2: Design Philosophy, Book 3: Design Sociology, Book 4: Design Embodiment, and Book 5: Design Intervention. More than 100 notable experts participate in the project. Milev's work on a complementary science of design is widely reviewed and integrated in seminar curricula.

From this larger work, Book 3 with its four clusters (Design Politics, Design Governance, Design Sociology, and Design Ethnology) was extracted and published in a German-language edition entitled Designsoziologie. Der erweiterte Designbegriff im Entwurfsfeld der politischen Theorie und Soziologie. Milev submitted this Design Sociology as a habilitation thesis at the University of St. Gallen.

In the continuation of her scholarly activity as research associate of the Seminar for Sociology at the University of St. Gallen (SfS-HSG), Milev further develops the themes of the precaritization and symbolic violence of neoliberal regimes. She researches design governance as an element of global governance and examines the function of media and marketing in hegemonial assertions of corporate interests. In this context, she connects the critique of globalization to a critique of violence and a critique of the "creative economy." Milev furthermore analyzes the pathogenic effects of coordinated brand movements in the social fields, as well as social-ethical disorientation, deprivation, and associated comorbidities. A public-facing high point of this research is her lecture at the scholarly symposium "Experiencing Atmospheres: Dimensions of a Diffuse Phenomenon," held at the ZKM in 2011 and her written contribution to the Handbook of Fear published by J.B. Metzler in 2013. Additional publications appear on the topic of Being Precarious in the Society of Symptoms.

Since 2017, Milev's research focuses on the subordination of, and discrimination against, individuals socialized in the GDR after the state accession in 1990; on precarity and anomie in the federal states belonging to the former East; on the east–west conflict in unified Germany; and on the normative populism of the ruling market-liberal democracy. She has founded the research project De-Coupled Society: Liberalization and Resistance in East Germany since 1989/90: A Sociological Laboratory. This comprises an edition of multiple volumes with the titles Annexation, Reorganization, Exile, Surveys over social facts, Testimonies in Photography & Film, Spaces, Scenes, and Which Future? With the trilogy of monographs Annexation, Reorganization, Exile (Anschluss, Umbau, Exil), Milev develops across 1,430 pages a grounded theory of the so-called German-German "re-unification" in the context of the eastward expansion of NATO and the EU, and analyzes the social consequences of the politics of annexation and assimilation in the post-GDR.

Alongside this research publication, additional analytic books such as Democracy defects and The Treuhand Trauma are published to make the topic accessible to a broader public and for debate. Milev decidedly distances herself from prevailing perceptions by describing the "Unification Agreement" (Einigungsvertrag) as an "Expropriation Agreement" (Ent-Eignungsvertrag), interpreting the Volkskammer's 1990 Accession Resolution (Beitritssbeschluss) as an "Enabling Act" (Ermächtigungsgesetz), the "Reconstruction of the East" (Aufbau Ost) as an "execution maneuver" (Vollstreckungsfeldzug), and the "first free election of the Volkskammer" as a campaign coordinated from Bonn. Milev's research on "re-unification" has been widely received and challenged. It has also been acknowledged as an innovative contribution in scholarly discussion of Korea, and in anthropology and European cultural studies.

Curating arts and sciences
For Milev, curating is in the first instance a process of contextualized compression and transmission of complex and current topics. Here, she combines scholarship, experimental media arrangements, ethnographic field research, and scenographic presentations in curated, multiple environments.

Milev's first roles in context-oriented project leadership were undertaken between 1988 and 1991 at the Dresden Academy of Fine Arts and in the Black Box Multiple studio in Dresden-Nord.

Additional curatorial projects followed in the Leonhardi Museum (Dresden, 1995); the Goethe Institute Osaka (1997), and the Gallery EIGEN + ART (Leipzig, 2001). In the context of her exhibitions, she mounted interdisciplinary workshops, so-called AOBBME Ambulances, with audience members and guests.

With the international symposium "Emergency Design," which took place as a festival and conference at the Zurich University of the Arts (ZHdK) in 2006, Milev established her specific profile as a curator. With interdisciplinary conference panels, a film program, interior and exterior scenarios, event zones spread across the entire Academy campus, as well as more than 60 participants of international standing, Milev organized a three-day cultural scenario with her team.

At the University of Design Karlsruhe (HfG), curatorial programs and platforms including talk(ing) space (2006) and Guerilla Transit (2007) were developed. The panel series talks in-between emergencies (originally conceived in 2008) took place in 2009 in cooperation with the ZKM Karlsruhe.

In 2011, Milev served a program coordination advisor with Cordula Hamschmidt for the event "Über Wut / On Rage" at the Haus der Kulturen der Welt in Berlin. The same year, Milev and the musician and photographer Philipp Beckert founded the label NUXN, a platform for photography and visual sociology.

Milev's foundational work in the burgeoning field of design anthropology, D.A. — A Transdisciplinary Handbook of Design Anthropology, is at the same time a foundational work in expanded design curating. In cooperation with Mind Design, this work was adapted as an exhibition entitled "The Next Big Thing is Not a Thing", in the Institute for Architecture and Design "Bureau Europa" (Maastricht). The same year, Milev presented a sketch of applied crisis-economics in the Anthropocene during the epilogue of the GLOBALE, held at the ZKM Karlsruhe on the topic "Next Society — Facing Gaia."

Teaching projects
Between 2000 and 2015, Milev worked continuously as an instructor with teaching responsibilities at the Weißensee Academy of Art Berlin (KHB), the Berlin University of the Arts (UDK), the University of Salzburg, the Salzburg University of Applied Sciences, the University of Design Karlsruhe (HfG), the Zurich University of the Arts (ZHdK), and the School of Humanities and Social Sciences at the University of St. Gallen (SHSS-HSG). In this context, her activities at the Academy of Design in Karlsruhe played a central part between 2003 and 2012. During this time, Milev developed new seminar formats such as the methods seminar Critical Theory — Theory Design, the seminar Crisis Economies: New Exchange Forms in the Zones of Anomie, and the practical format Guerilla Transit: Spot Actings in the Zones of Anomie. Between 2011 and 2015, these were accompanied by seminars in the contextual studies sequence at the School of Humanities and Social Sciences at the University of St. Gallen, on the topic of Design Governance, in addition to the seminar at the Berlin University of the Arts entitled Politics of Self-Design.

Political positions
In the 2000s, Milev developed a pointed critique of the global art industry, and of a neoliberal creative economy that increasingly infiltrates all social spheres and destroys the social sense of art, speech, and exchange through coordinated brand movements and mainstreamings. Her exit from the global art market was a considered political stance.

For Milev, the annexation of the GDR by the FRG is a model of regime change as this has been practiced, according to the US example, throughout the world since 1973. According to Milev, the paradigm "freedom and capitalism," as propagated by the US economist Milton Friedman, now also thoroughly rules the erstwhile "Eastern bloc." At the outset of her research project De-Coupled Society, Milev released the following statement:My critique of the system did not end with the end of the GDR; instead, with the so-called "re-unification" — it was assigned a new task! The will for reform felt by the majority of the GDR population in 1989/90, with its goal of a grassroots-democratic, confederalist constitutional solution, was forced to give way to an annexation whose consequences damaged the rights and values of many millions of people. Democratic liberalism manifests itself as an unfettered project of new land-grabs, and the dissolution of spheres of life, work, and culture without an alternative. (Michael Meyen, Der Think Tank Yana Milev, Das mediale Erbe der DDR, URL: https://medienerbe.hypotheses.org/2459) In protest against the erasure in international law of her country of origin, the GDR, and her involuntary inclusion as a citizen of the Federal Republic of Germany, in 2000 Milev declared Switzerland her place of exile from political and territorial homelessness.

Exhibitions (selection)

 1990: "L'autre Allemagne hors les murs". La grande halle de la Villette, Paris, F
 1990: AVE-Media-Festival, Arnhem, NL
 1992: "4 aspekte zu exodus". Galerie EIGEN + ART, Leipzig
 1993: "exodus=asyl+analyse". Galerie EIGEN + ART, Berlin
 1994: Galerie EIGEN + ART in London, Independent Art Space, Museum of Installations, London, UK
 1995: "Club Berlin". kuratiert von Klaus Biesenbach, Biennale, Venedig, I
 1996: "exercitium 1.01.-schweigen im reigen". Rauminstallation Leonhardi-Museum, Dresden
 1997: documenta X, Ottoneum, Kassel, kuratiert von Catherine David (erste Teilnehmer aus den ehemaligen Ostblock-Ländern)
 1997: "AOBBME – de-urban ambulance". Goethe-Institut Osaka, JP
 1997: "URBAN LIVING". Galerie "Fons Welters", Amsterdam, NL
 1999: "Go East". SCA Gallery, Sydney, AUS
 1999: "Talk. Show". Von der Heydt-Museum Wuppertal, kuratiert von S.M.-Büsser und B. Schwenk
 1999: "Children of Berlin". MoMA PS1, kuratiert von Klaus Biesenbach, New York, USA
 2000: "Floating Cities". kuratiert von Nina Muecke und Angelika Sommer, Haus der Kulturen der Welt, Berlin
 2001: "doublewatch". Galerie EIGEN + ART, Leipzig
 2003: "Rituale". kuratiert von N. Muecke und A. Sommer, Akademie der Künste, Berlin
 2005: "the storytellers return: romantica und cella". kuratiert von Volkmar Billig, Kloster Altzella, Nossen
 2006: "Kultur-Invest-Dresden". Die Dresdner Bank im Oktogon, kuratiert von Susanne Greinke, Hochschule der Bildenden Künste Dresden
 2006: "revision ddr/40 jahre videokunst.de". kuratiert von Dieter Daniels und Jeannette Stoschek, Museum der Bildenden Künste Leipzig
 2007: Transmediale, Akademie der Künste, Berlin
 2009: "Ohne uns! Kunst und alternative Kultur in Dresden vor und nach' 89", kuratiert von Frank Eckart, Paul Kaiser und Susanne Altmann, Dresden
 2010: "Puzzle", kuratiert von Julia Schäfer und Angelika Richter, Galerie für zeitgenössische Kunst Leipzig
 2011: "Hab ich Euch nicht blendend amüsiert? Weibliche Subversionen in der späten DDR", kuratiert von Susanne Altmann, Kunsthalle Mannheim
 2014: "Wir werden 100", anl. der Eröffnung des Max-Pechstein-Museums, Kunstsammlung Zwickau, Max-Pechstein-Museum Zwickau
 2016: "Gegenstimmen", kuratiert von Christoph Tannert und Eugen Blume, Martin Gropius Bau Berlin

Films

 Raster + Psyche, Super-8-Film, 3-teilig, s/w und Farbe, 30 Minuten, Remake Digibeta/VHS, 1997, Verleih: Ex.Oriente.Lux
 Doublage Fantastique, Super-8-Film, Doppelprojektion, s/w und Farbe (1988), 30 Minuten, zusammen mit Via Lewandowsky (1989), Remake Digibeta/VHS, 1997, Verleih: Ex.Oriente.Lux
 Irreversible, Super-8-Mehrfachprojektion, s/w und Farbe, 40 Minuten, Life-Aufführung (1989), Remake Digibeta/VHS, 1997, Verleih: Ex.Oriente.Lux
 Exodus: Auszug ins Gelobte Land oder Wer sind wir in diesem Augenblick der Geschichte?, Ein Rundgang (1992), Verleih: AOBBME-Archiv
 I submit! – Für die Resonanz, Doku über den Weg des Bogens, Produktion: Majade Filmproduktions GmbH Berlin/Leipzig, 90 Minuten (Produktionsabbruch), Trailer (2003), MiniDV, Digibeta, Verleih: AOBBME-Archiv

Public collections (selection)

 Staatsministerium für Wissenschaft und Kunst, Dresden (1995)
 Kupferstichkabinett, Dresden (1995)
 Kupferstichkabinett, Berlin (1995)
 Städtisches Museum, Zwickau (1996)
 Sachsen LB, Leipzig (1997)
 Sachsen LB, Leipzig (2001)
 Sächsisches Staatsministerium für Wissenschaft und Kunst (2004)
 Sächsische Kunstsammlung Dresden/Kunstfonds Dresden (2003)
 Sächsische Kunstsammlung Dresden/Kunstfonds Dresden (2005)
 Städtisches Museum Zwickau (2014)

Dealer

 Galerie EIGEN+ART Leipzig/Berlin (1992-2003)

Curatorial projects (selection)

 1994: AOBBME (Association Of Black Box Multiple Environments), seit 1994 "Institut für Angewandte Raumforschung und Mikrotopische Kulturproduktion" mit Sitz in Berlin (http://www.aobbme.com/)
 1995: "Wie kann das Nichts erfahrbar sein?" kuratorisches Programm über 40 Tage im Rahmen der Ausstellung "Schweigen im Reigen", Leonhardi-Museum Dresden
 2005: TALK IN(G) SPACE: Interviews mit Lehrenden und Studierenden der Hochschule für Gestaltung Karlsruhe zu Fragen des relationalen Raumes, in Kooperation mit Mischa Kuball, Andrei Ujica, Kathrin Wildner, Marc Teuscher, Jesus Muñoz, Max Mayer, Oliver Karl Boeg u. a.
 2006: "Emergency Design", Festival und Konferenz an der ZHdK in Zürich (http://emergencydesign.zhdk.ch/)
 2006: "Replay-Emergency Design",Konferenz an der HfG Karlsruhe (http://www.aobbme.com/wordpress/wp-content/uploads/replay-ED-2.pdf)
 2007: "Guerilla Transit", aktivistische Plattform mit Studierenden der HfG Karlsruhe (http://www.guerilla-transit.de/)
 2009: "talks in-between emergencies" (http://on1.zkm.de/zkm/stories/storyReader$6478)
 2010: ON RAGE, kuratorische Beratung für Cordula Hamschmidt im Rahmen des Projektes "On Rage" Haus der Kulturen der Welt, Berlin (https://www.hkw.de/en/programm/projekte/2010/ueber_wut/veranstaltungen_40673/AlleVeranstaltungen.php)
 2011: NUXN, Plattform für Fotografie und Visuelle Anthropologie (http://www.nuxn.de/)
 2013: DESIGN ANTHROPOLOGY, The Theoretical And Curatorial Foundation For An Extended Concept Of Design (http://design-anthropology.eu/)
 2016: The Next Big Thing is Not a Thing, Ausstellungskonzeption nach dem Buch "D.A. - A Transdisciplinary Handbook of Design Anthropology" und Co-Kuratierung, Bureau Europa, Maastricht (https://www.bureau-europa.nl/en/the-next-big-thing-is-not-a-thing/)
 2016: Next Society - Facing Gaia. Epilog GLOBALE, ZKM (http://zkm.de/media/video/next-society-facing-gaia-yana-milev)

Books

Monographs

 Von Exodus bis Exercitium. Lebendige Archäologie und Theoriedesign als Methoden künstlerischer Forschung. Edition EIGEN + ART, Leipzig/Berlin 1995, 176 Seiten, ISBN 3-929294-15-X
 Emergency Empire – Teil 1: Souveränität. Transformation des Ausnahmezustands. Springer, Wien/ New York 2009, 239 Seiten, ISBN 978-3-211-79811-9
 Emergency Design – Anthropotechniken des Über/Lebens, Eine kulturanthropologische Perspektive. Merve Verlag, Berlin 2011, 119 Seiten, ISBN 978-3-88396-300-6
 Designsoziologie. Der erweiterte Designbegriff im Entwurfsfeld der politischen Theorie und Soziologie. Peter Lang Academic Publishers, Bern/ Brüssel/ Berlin/ Wien/Oxford/New York 2014, 819 Seiten, ISBN 978-3-631-65670-9
 Entkoppelte Gesellschaft - Ostdeutschland seit 1989/90. Anschluss. Peter Lang, Internationaler Verlag der Wissenschaften, Berlin 2018, 343 Seiten, ISBN 978-3-631-77155-6
 Demokratiedefekte. Ein Essay zum normativen Populismus, Agenda Verlag, Münster 2019, 114 Seiten, ISBN 978-3-89688-624-8.
 Das Treuhand-Trauma : Die Spätfolgen der Übernahme, Das Neue Berlin, Berlin 2020, 287 Seiten, ISBN 978-3-360-01359-0
 Entkoppelte Gesellschaft - Ostdeutschland seit 1989/90. Umbau. Peter Lang, Internationaler Verlag der Wissenschaften, Berlin 2019, 493 Seiten, ISBN 978-3-631-77155-6
 Entkoppelte Gesellschaft - Ostdeutschland seit 1989/90. Exil. Peter Lang, Internationaler Verlag der Wissenschaften, Berlin 2020, 593 Seiten, ISBN 978-3-631-77155-6

Editions

 Emergency Design. Designstrategien im Arbeitsfeld der Krise. Verlag Springer, Wien/ New York 2008, (zus. mit Gerhard Blechinger), 171 Seiten, ISBN 978-3-211-48760-0
 D.A. - A Transdisciplinary Handbook of Design Anthropology. Peter Lang Verlag, Bern/ Brüssel/ Berlin/ Wien/ Oxford/ New York 2013, 1.300 Seiten, ISBN 978-3-631-61906-3
 Design Kulturen. Der Erweiterte Designbegriff im Entwurfsfeld der Kulturwissenschaft. HFG Forschung, Fink, München 2013, 319 Seiten, ISBN 978-3-7705-5534-5
 Europa im freien Fall. Orientierung in einem neuen Kalten Krieg. Turia+Kant, Wien/ Berlin 2016, 143 Seiten, ISBN 978-3-85132-822-6
 Entkoppelte Gesellschaft - Ostdeutschland seit 1989/90. Tatbestände. Peter Lang, Internationaler Verlag der Wissenschaften, Berlin 2019, 569 Seiten, (zus. mit Franz Schultheis), ISBN 978-3-631-78731-1
 Entkoppelte Gesellschaft – Ostdeutschland seit 1989/90. Zeugnisse/Fotografie. Peter Lang, Internationaler Verlag der Wissenschaften, Berlin 2021, (zus. mit Philipp Beckert und Marcel Noack), 689 Seiten, ISBN 978-3-631-81991-3

Bibliography (selection)

 Claus Löser: Gegenbilder – Filmische Subversion in der DDR 1976–1989. Janus Press, 1996 1996, ISBN 3-928942-38-7.
 Johannes Kirschenmann: Konstruktionen auf der Baustelle des Subjekts. Überlegungen zur documenta-Arbeit von Yana Milev. In: Bernhard Balkenhol, Heiner Georgsdorf (Hrsg.): X mal documenta X. Über Kunst und Künstler der Gegenwart. Ein Nachlesebuch zur 10. documenta. University Press Kunsthochschule Universität Kassel, Kassel 1997, ISBN 3-88122-963-9.
 bohème und diktatur in der ddr. Katalog zur gleichen Ausstellung im Marstall, Berlin, Fannei & Walz-Verlag, Deutsches Historisches Museum, Berlin 1997, ISBN 3-927574-39-2.
 Politics/Poetics. Das Buch zur documenta X, Werner Stehr, Johannes Kirschenmann (Hrsg.), Hatje Cantz Verlag, 1997, ISBN 3-89322-909-4.
 "short guide" Kunstführer documenta X, Cantz Verlag, 1997, ISBN 3-89322-938-8.
 Eckart Gillen (Hrsg.): Deutschlandbilder. Kunst aus einem geteilten Land. Katalog zur gleichen Ausstellung Martin-Gropius-Bau, Berlin. DuMont Verlag, 1997, ISBN 3-7701-3869-4.
 Susanne Meyer-Büser: Yana Milev. Begriffs-Environment als Gesamtkunstwerk. In: Talk Show. Die Kunst der Kommunikation. Hatje Cantz, Ostfildern 1999, ISBN 3-7913-2066-1.
 Zelle 05: Kreuzungen. Ausstellungskatalog, Volkmar Billig (Hrsg.), Verlag&Druckerei Tierbs, Pirna 2005.
 Susanne Greinke (Hrsg.): Kulturinvest Dresden. Verlag für Moderne Kunst Nürnberg, Kulturstiftung Dresden der Dresdner Bank, 2006, ISBN 3-939738-03-4.
 Dieter Daniels, Jeannette Stoschek (Hrsg.): Grauzone 8mm. Materialien zum autonomen Künstlerfilm in der DDR, Materialband zur Ausstellung 40 jahrevideokunst.de:revision.ddr. Museum der bildenden Künste Leipzig mit DVD produziert vom Ludwig Boltzmann Institut Medien.Kunst.Forschung. Gefördert von der Kulturstiftung des Bundes. Hatje Cantz, Ostfildern 2007, ISBN 978-3-7757-1955-1.
 Christoph Tannert: Intermedia. Weiblicherseits. In: Angelika Richter, Beatrice E. Stammer, Bettina Knaup (Hrsg.): und jetzt. Künstlerinnen aus der DDR. Verlag für moderne Kunst Nürnberg, Nürnberg 2009, ISBN 978-3-941185-73-9.
 Susanne Altmann: Hab ich Euch nicht blendend amüsiert? Weibliche Subversion in der späten DDR. In: Projektgruppe OHNE UNS!, Ohne Uns! Kunst und alternative Kultur in Dresden vor und nach '89.EFAU-Verlag, Dresden, 2010, ISBN 978-3-9807388-1-1.
 Claus Löser: Strategien der Verweigerung. Untersuchungen zum politisch-ästhetischen Gestus unangepasster filmischer Artikulation in der Spätphase der DDR. DEFA-Stiftung, Berlin 2011, ISBN 978-3-00-034845-7.
 Susanne Altmann, Ulrike Lorenz (Hrsg.): Entdeckt. Rebellische Künstlerinnen in der DDR. Kunsthalle Mannheim, 2011, ISBN 978-3-89165-221-3.
 Rebecca Riedel, Mieke Ulfig, Matthias Einhoff, Superschools Geschichtsbuch. Eine Übertragung des szenischen Vortrags Krisenökonomien von Yana Milev, aufgeführt im Maxim-Gorki-Theater Berlin, Studiobühne, 12 June 2010, in: Matthias Götz, Maike Fraas (Hg.), Fiasco - ma non troppo. Vom Designfehler zum Fehlerdesign, Schwabe Verlag, Basel, 2012, S. 284–311, ISBN 978-3-7965-3419-5.
 Claudia Mareis, Theorien des Designs. Zur Einführung, Junius, Hamburg, 2014, ISBN 978-3-88506-086-4.
 Elize Bisanz, Marlene Heidel (Hg.), Bildgespenster. Künstlerische Archive aus der DDR und ihre Rolle heute, Transcript, Bielefeld, 2014, ISBN 978-3-8376-2461-8.
 Angelika Richter, Das Gesetz der Szene: Genderkritik, Performance Art und zweite Öffentlichkeit in der späten DDR (Studien zur visuellen Kultur), transcript Verlag, Bielefeld 2019, ISBN 978-3-8394-4572-3.
 Seth Howes, Moving Images on the Margins – Experimental Film in Late Socialist East Germany, Boydell & Brewer Ltd, NY USA, 2019, ISBN 978-1-64014-068-4.
 Ronald Galenza, Die Hosen haben Röcke an. Female Voices der DDR Subkultur, in: Alexander Pehlemann, Ronald Galenza, Robert Mießner (Hg.), MAGNETIZDAT DDR. Magnetbanduntergrund Ost 1979–1990, Verbrecher Verlag, Berlin, 2021, ISBN 9783957324764.
Stephanie Jaeckel: Milev, Yana: Allgemeines Künstlerlexikon Online / Artists of the World Online, edited by Wolf Tegethoff, Bénédicte Savoy and Andreas Beyer, De Gruyter, Berlin, New York: K. G. Saur, 2009, https://www.degruyter.com/database/AKL/entry/_42000319/html. Accessed 2021-10-21.

Awards

 1993–1995: Graduiertenförderung des Landes Sachsen
 1994: Arbeitsstipendium, Stiftung Kulturfonds der neuen Bundesländer, Berlin
 1995: Max-Pechstein-Preis (Förderpreis)
 1996–1998: Förderstipendium der Günther-Peill-Stiftung, Düren
 1997–1999: DAAD-Stipendium für Japan

External links

 Literatur von und über Yana Milev im Katalog der Deutschen Nationalbibliothek
 Homepage
 Online-Archiv AOBBME. Retrieved 17 February 2021.
 ArtFacts: Yana Milev | Artist. Retrieved 17 February 2021.
 Yana Milev ZKM
 Yana Milev Kunstaspekte
 Yana Milev Artwork
 Medienkunstnetzt/ Media Art Net
 Portal Bibliotheksservice-Zentrum Baden-Württemberg
 Publikationen ZHdK

References

Living people
German people of Bulgarian descent
German philosophers
German artists
German sociologists
German non-fiction writers
German women philosophers
German women artists
German women sociologists
German women writers
Year of birth missing (living people)
East German artists
German conspiracy theorists

redpajama_set_name: RedPajamaWikipedia


text:
Rugby falls in 32nd tournament round
The rugby team travelled over 300 miles to St. Louis to attend the NSCRO Mid-Central Qualifier. In Round 32, the team lost to University of Southern Indiana 35 to 5. With just a few minor injuries, the rugby team played their hardest against the university.
"It was good and we all fought," Braden Hildebrand, a freshman who tore his ACL at the game, said. "We had a few injuries. We ended up losing but we played pretty well."
The rugby team advanced to that 32nd round of the national tournament by beating Wayne St. 38-21 and Pitt St. 12-10. With these two wins, the JBU Rugby team became Mid-American champions.
The NSCRO is the National Small College Rugby Organization that gives small college rugby clubs the opportunity to compete for the Small College National Championships, stated the website.
"There are nine hundred colleges that play rugby for women and men," Darrin Barner, coordinator of the Mid-American Ruby Football Union, said. "It is the fastest growing sport in the United States. Most teams practice twice a week. It's a combination of football, soccer and basketball. It is a high intensity contact sport that is appealing to raw athletes. It will be in the Olympics in 2016 and the NFL is starting to draft professional rugby players from overseas due to physicality and competitiveness."
John Brown competed against schools from Kansas, Missouri and Oklahoma. They will play regular season games until late October.
"Rugby is more of a brotherhood than a team," Hildebrand said. "It was really good to hang out with my brothers on the team."
Cheerleading boosts team morale
Brazilian dance practiced in Northwest Arkansas

redpajama_set_name: RedPajamaCommonCrawl


text:
package gock

import (
	"bytes"
	"errors"
	"net/http"
	"testing"
	"time"

	"github.com/nbio/st"
)

func TestNewResponse(t *testing.T) {
	res := NewResponse()

	res.Status(200)
	st.Expect(t, res.StatusCode, 200)

	res.SetHeader("foo", "bar")
	st.Expect(t, res.Header.Get("foo"), "bar")

	res.Delay(1000 * time.Millisecond)
	st.Expect(t, res.ResponseDelay, 1000*time.Millisecond)

	res.EnableNetworking()
	st.Expect(t, res.UseNetwork, true)
}

func TestResponseStatus(t *testing.T) {
	res := NewResponse()
	st.Expect(t, res.StatusCode, 0)
	res.Status(200)
	st.Expect(t, res.StatusCode, 200)
}

func TestResponseType(t *testing.T) {
	res := NewResponse()
	res.Type("json")
	st.Expect(t, res.Header.Get("Content-Type"), "application/json")

	res = NewResponse()
	res.Type("xml")
	st.Expect(t, res.Header.Get("Content-Type"), "application/xml")

	res = NewResponse()
	res.Type("foo/bar")
	st.Expect(t, res.Header.Get("Content-Type"), "foo/bar")
}

func TestResponseSetHeader(t *testing.T) {
	res := NewResponse()
	res.SetHeader("foo", "bar")
	res.SetHeader("bar", "baz")
	st.Expect(t, res.Header.Get("foo"), "bar")
	st.Expect(t, res.Header.Get("bar"), "baz")
}

func TestResponseAddHeader(t *testing.T) {
	res := NewResponse()
	res.AddHeader("foo", "bar")
	res.AddHeader("foo", "baz")
	st.Expect(t, res.Header.Get("foo"), "bar")
	st.Expect(t, res.Header["Foo"][1], "baz")
}

func TestResponseSetHeaders(t *testing.T) {
	res := NewResponse()
	res.SetHeaders(map[string]string{"foo": "bar", "bar": "baz"})
	st.Expect(t, res.Header.Get("foo"), "bar")
	st.Expect(t, res.Header.Get("bar"), "baz")
}

func TestResponseBody(t *testing.T) {
	res := NewResponse()
	res.Body(bytes.NewBuffer([]byte("foo bar")))
	st.Expect(t, string(res.BodyBuffer), "foo bar")
}

func TestResponseBodyString(t *testing.T) {
	res := NewResponse()
	res.BodyString("foo bar")
	st.Expect(t, string(res.BodyBuffer), "foo bar")
}

func TestResponseFile(t *testing.T) {
	res := NewResponse()
	res.File("version.go")
	st.Expect(t, string(res.BodyBuffer)[:12], "package gock")
}

func TestResponseJSON(t *testing.T) {
	res := NewResponse()
	res.JSON(map[string]string{"foo": "bar"})
	st.Expect(t, string(res.BodyBuffer)[:13], `{"foo":"bar"}`)
	st.Expect(t, res.Header.Get("Content-Type"), "application/json")
}

func TestResponseXML(t *testing.T) {
	res := NewResponse()
	type xml struct {
		Data string `xml:"data"`
	}
	res.XML(xml{Data: "foo"})
	st.Expect(t, string(res.BodyBuffer), `<xml><data>foo</data></xml>`)
	st.Expect(t, res.Header.Get("Content-Type"), "application/xml")
}

func TestResponseMap(t *testing.T) {
	res := NewResponse()
	st.Expect(t, len(res.Mappers), 0)
	res.Map(func(res *http.Response) *http.Response {
		return res
	})
	st.Expect(t, len(res.Mappers), 1)
}

func TestResponseFilter(t *testing.T) {
	res := NewResponse()
	st.Expect(t, len(res.Filters), 0)
	res.Filter(func(res *http.Response) bool {
		return true
	})
	st.Expect(t, len(res.Filters), 1)
}

func TestResponseSetError(t *testing.T) {
	res := NewResponse()
	st.Expect(t, res.Error, nil)
	res.SetError(errors.New("foo error"))
	st.Expect(t, res.Error.Error(), "foo error")
}

func TestResponseDelay(t *testing.T) {
	res := NewResponse()
	st.Expect(t, res.ResponseDelay, 0*time.Microsecond)
	res.Delay(100 * time.Millisecond)
	st.Expect(t, res.ResponseDelay, 100*time.Millisecond)
}

func TestResponseEnableNetworking(t *testing.T) {
	res := NewResponse()
	st.Expect(t, res.UseNetwork, false)
	res.EnableNetworking()
	st.Expect(t, res.UseNetwork, true)
}

func TestResponseDone(t *testing.T) {
	res := NewResponse()
	res.Mock = &Mocker{request: &Request{Counter: 1}}
	st.Expect(t, res.Done(), false)
	res.Mock.Disable()
	st.Expect(t, res.Done(), true)
}

redpajama_set_name: RedPajamaGithub


text:
Silene coeli-rosa é uma espécie de planta com flor pertencente à família Caryophyllaceae.

A autoridade científica da espécie é (L.) Godr., tendo sido publicada em Flore de France 1: 221. 1827.

Portugal

Trata-se de uma espécie presente no território português, nomeadamente em Portugal Continental.

Em termos de naturalidade é introduzida da regição atrás indicada.

Protecção

Não se encontra protegida por legislação portuguesa ou da Comunidade Europeia.

Referências
 Silene coeli-rosa - Checklist da Flora de Portugal (Continental, Açores e Madeira) - Sociedade Lusitana de Fitossociologia
 Checklist da Flora do Arquipélago da Madeira (Madeira, Porto Santo, Desertas e Selvagens) - Grupo de Botânica da Madeira
 Silene coeli-rosa - Portal da Biodiversidade dos Açores
 Tropicos.org. Missouri Botanical Garden. 17 de dezembro de 2013 <http://www.tropicos.org/Name/6300446>
 Silene coeli-rosa - The Plant List (2010). Version 1. Published on the Internet; http://www.theplantlist.org/ (consultado em 17 de dezembro de 2013).
 Silene coeli-rosa - International Plant Names Index

Ligações externas

 Silene coeli-rosa - Flora Digital de Portugal. jb.utad.pt/flora.
 Silene coeli-rosa - Flora-on
 Silene coeli-rosa - The Euro+Med PlantBase
 Silene coeli-rosa - Flora Vascular
 Silene coeli-rosa - Biodiversity Heritage Library - Bibliografia
 Silene coeli-rosa - JSTOR Global Plants
 Silene coeli-rosa - Flora Europaea
 Silene coeli-rosa - NCBI Taxonomy Database
 Silene coeli-rosa - Global Biodiversity Information Facility
 Silene coeli-rosa - Encyclopedia of Life

Flora de Portugal
coeli-rosa
Flora de Portugal Continental


text:
California's Democrat Governor Praises Trump
It's no secret that Governor Gavin Newsom (D-CA) and President Donald Trump have had their differences.
The Golden State's chief executive is involved with at least 68 politically-charged lawsuits against the president.
However, there is one critical area where he is praising the commander-in-chief's actions, and not just in private.
Mediaite's Leia Idliby reports:
Governor Gavin Newsom (D-CA) called Donald Trump's coronavirus response "proactive" on The View after host Joy Behar questioned him on their new positive relationship, specifically asking if he's kissing the president's ring to avoid retribution.
"Governor, it's no secret that you've had a combative relationship with Trump in the past, but lately, you've been praising him for the help he's giving. Of course, you have to, because look at how he treats governors who don't kiss his ring," Behar said. "The governor of Washington, the governor of Michigan, he said they were not appreciative and told Mike Pence, 'don't call them back.' Do you feel like you have to feed this guy's ego to get the respirators, to get the PPEs, is that what's going on?"
While Newsom reiterated his differences with Trump, he made clear that his collaboration with the administration has been productive.
"All I can say is that, from my perspective, the relationship has been strong," Newsom said. "I'm not doing it to kiss the ring, I'm not doing it in a way, you know, — I'm just being forthright with the president. He returns calls, he reaches out, he's been proactive."
Will Coronavirus Destroy New York City?
Some Good News, And Some Bad News


More than 75 years of experience. Get to know MANN+HUMMEL – our company, our ideas, our passion. Immerse yourself with us in the exciting world of filtration.
More and more people are suffering from the consequences of air pollution from fine dust and nitrogen dioxide. That's why we launched the "Fine Dust Eater" technology platform project. A project from which many can benefit.
Not only fine dust, but also harmful gases pollute our ambient air and thus our health. Nitrogen dioxide is particularly dangerous, which is why our filtration solutions help to reduce pollution.
Filtration separates the harmful from the useful. But what is even harmful? And who decides that? We selectively apply all of our expertise to find the right solutions.
MANN+HUMMEL has developed an intelligent filter for the wire erosion of workpieces with the highest requirements for filtration performance. The new product enables the perfect exploitation of the filter, improves the service concept, and reduces operating costs.
StarBoxXT and StarBox2 are the new spin-on separators from MANN+HUMMEL used for air/oil separation of compressors. The innovative separator series ensures clean compressed air and simultaneously reduces the energy consumption of the systems.
Particulate filter in a motorcycle helmet? Fine dust eater? Bionic filter? – MANN+HUMMEL is using its creativity and ability to take a broader view to develop solutions to meet the challenges of the future. Here we like to take inspiration from nature.
Keep up to date to make sure you do not miss anything. This is where you can find our collection of press releases from the area of filtration, new products and projects.
Live on site and in color: the MANN+HUMMEL event calendar will give you an overview of forthcoming events.


text:
09/01/2017 | The World Needs Strength
Todd Royal
In number 51 of the Federalist Papers, James Madison writes, "If Men were angels no government would be necessary." A strikingly similar sentiment to thousands of years ago when the Jewish prophet Jeremiah said, "The heart of man is exceedingly wicked, who can know its evil ways."
The world, led by the West has tried appeasement, isolationism, and moral equivalence to avoid war; instead of a Cold War type of coalition that President Harry Truman began to check the Soviet Union. We are reaching a precipice where ISIS is still thriving, Aleppo is in ruins, Crimea was annexed, Ukraine was invaded, and the world does nothing.
This view that appeasement and minding your own business will make troubles and problems go away is naïve at best, and a precursor to the beginning of World War III at worse. Somewhere in between is a world where billions are still living under dictators with no hope in sight.
Where are the words of Kennedy, Reagan, and Walesa crying for even one soul living under deplorable conditions? They are nowhere to be seen or heard from these days. If the world doesn't wake up, and leave its listless slumber, then the echoes of 1933 will be replaced by a Russia-Chinese-Iranian axis that will make the previous axis look small in comparison. No more commerce, no more globalization, no more growth thru fiscal or monetary policy dominating the front pages of our news – wars that we have never seen, or imagined – will take over our lives and our countries.
It is time for the world to arise, and that's why the world needs to be strong again for individual freedom, national sovereignty, functioning governments, and begin to check and aggressively retaliate against this decade's axis of evil: Russia, China, and Iran. Those three menaces are now leading the world in terrorism, environmental degradation, and hegemonic behavior in the fragile Middle East.
International relations expert Professor Robert D. Kaufman of Pepperdine University's School of Public Policy, speaking on China's own bid for hegemony, says: "East Asia is the most important power center of the 21stcentury." Sage words, yet the U.S. has its Asian allies very worried after doing nothing when China brazenly stole US military hardware outside Subic Bay, near the Philippines in international waters.
US and allied restraint doesn't endear the Chinese to the West, but only encourages more outlandish, provocative behavior. Asian allies should be more than worried, and prudence calls for Japan, South Korea, Australia and the Philippines to consider their own positions with China while pursuing larger military budgets that include a nuclear deterrence.
And the world further better wake up to the fact that China has their own proxy, North Korea, more dangerous than Iran's proxies – Hamas and Hezbollah – that have caused nothing but misery and destruction. North Korea, with China's blessing, now has a nuclear arsenal capable of reaching Europe and North America. The world needs a strong response to China. That is the only thing Beijing will understand.
What appeasement also does is not assess your enemies through the lens of deterrence, balance of power, and a vibrant NATO coalition that should have stood up to Putin years ago. Simply put, "Putin is not our friend." To think otherwise is laudable for the amount of foolish thinking that requires.
He's a bloodthirsty, greedy, former KGB colonel who was never going to let democracy and rule of law thrive in his country. The Russians made a Faustian bargain of so-called security for autocratic rule. Now, mob-like conditions exist, and you are either a billionaire autocrat with the Kremlin's blessing, or you are an exile who at some point has spoken out against this regime's criminal behavior like Garry Kasparov.
But does the world care? It sure seems we do at this point.
Why the North Koreans are so dangerous is the very reason the Iranians become more and more dangerous. Another Faustian bargain here though, that if a Western country gives enough money and incentives, rogue regimes will stop their bad actions. Nothing could be further from the truth, whether it's the North Koreans or the Iranians. Agreements, deals, or even cold, hard cash will never change these regimes. They only understand the barrel of a gun or an aircraft carrier knocking at their doorstep.
That's the cold, hard, ugly reality of geopolitics. You don't have friends, only interests that align and the willingness to enforce behaviors that lead to individual freedom and thriving economic markets. That is usually it, and moreover believing a nation is nothing more than interest is better left for the religious, and not the astute nation that wants a winnable peace.
The Iranians haven't changed their ways since the P5 +1 agreement, if anything, they have gotten worse; and now the UN solidifies their actions by saying it is okay for them to build nuclear submarines since 99 U.S. Senators voted to resume sanctions. The Europeans were incorrect in the early 1930s about the threats they faced, and they are wrong now. The world needs strength, not capitulation.
What's more worrisome than the activities of China, Russia, and Iran is how leading Western voices, such as the eminent President for the Council on Foreign Relations; Richard N. Haas continue to misunderstand the threats the world is currently facing.
Mr. Haas recently wrote a beautiful article titled, "The Case for Sovereign Obligation." He writes movingly about how the world needs to come together in what he affirms as World Order 2.0. A world "That includes not only the rights of sovereign states but also those states' obligations to others." The Peace of Westphalia, international order, and responsibility to protect (R2P) with all three sovereign doctrines speaks of an:
"Obligation a government has to its own citizens that, if ignored, are supposedly enforceable by other states through measures up to and including military intervention."
Mr. Haas should be commended for writing these words from such a prestigious institution, but they don't address how do you intend to make China, Russia, and Iran live up to these heightened, lofty ideals? The Council on Foreign Relations has written repeatedly on the nobility of the P5 +1 agreement, and how it is working when in reality it isn't. Who doesn't want the agreement with North Korea and Iran to work and avoid bloodshed? Any sane, rational person – that's who.
But what our pre, during, and post-World War II order taught us are regimes bent on destruction only understand force, and winning the peace is key, not half-measures, or haughty Westphalian orders without mechanism to ensure adherence. This current order is unraveling, and when sometime allies – Turkey and Russia – have broken trust, as witnessed by the assassination of the Russian ambassador to Turkey, then bloody responses will be in order.
What a connected global world has done is to illuminate apathy and hypocrisy by the West, and free forming societies in Asia. Enemies of freedom and order are using globalization to spread their malicious influence. Unless the West finds the words of Churchill when he said: "We sleep safely at night because rough men stand ready to visit violence on those who would harm us," then unabated violence will continue.
If the free world doesn't begin to reflect those values, and back them up with at least the threat of force, then more Aleppos will be laid to waste. And next time, who's to say the cities won't be Paris, New York, or Tokyo. Beijing, Tehran and Moscow would only be too happy to make that a reality. We can no longer say we don't know, or understand the threats now facing free people.
Geopoliticalmonitor.com (Canadá)
Geopolitics Has Caused the Oil Price Rally
Geopolitical Risk on Energy Prices Overblown
Will Creditors Get Paid Back by Venezuela?
US Presidential Race: Who Should You Choose?


text:
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Government Publishes Law Commission Bill
Written by Vox Editor
The Minister with responsibility for Justice, Neil F. Costa, has published a Bill to create a Law Commission in Gibraltar for the reform of the law and for connected purposes.
The Law Commission created under this legislation will be a statutory body comprised of at least six persons who will be tasked to:
• receive and consider proposals for the reform of the law;
• undertake the examination of particular branches of the law and formulate proposals for reform, codify the law and eliminate anomalies;
• propose the repeal of obsolete and unnecessary enactments; and
• generally provide advice and information to Her Majesty's Government of Gibraltar on the reform or amendment of any branch of the law.
The Law Commission will be made up of professionals and experts who will be able to give their opinion on a number specific issues relating to legal reform. The Law Commission will also be the vehicle used to fulfil the 2015 GSLP/Liberal manifesto commitment to "further review legislation on our statute book which has not been revised for some time".
The Minister for Justice, Neil F. Costa said: "This Bill is intended to create a statutory body made up of myself, HM Attorney General and experts in different fields. The Commission will be tasked with examining various areas of laws, which may either be obsolete due to the passage of time since they appeared on the statute books, or require amendment due to particular local circumstances. It is intended that one of the first, if not the first project that the Commission will be requested to undertake, will be to review local sentencing laws to ensure that they cater for the needs of Gibraltar, rather than being tied to sentencing guidelines, which have evolved for another jurisdiction with its own particular issues that do not necessarily apply to Gibraltar. I am truly very excited about this particular project and I am very much looking forward to debating the merits of this Bill in Parliament."
Gibraltar Welcomes Support of European Commission on Tax Transparency
Department of Environment Visits Sea Shepherd Vessel
FSC to ask for more money, despite taxpayers' subsidy of more than £500,000
Bipolar Disorder - Robert's Story
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text:
Q: How to emulate/spoof keypress event in Haskell? How to emulate/spoof keypress event in Haskell?
I have an onscreen number keypad in my Gui which I want to use to write into a number of text entrys in the window. The Keypad is made up of button widgets and what I want to do is have the onButtonClicked handler send a keyPressEvent so that the appropriate char/number is written into the text entry that has focus. I started by looking at Graphics.UI.Gtk.Gdk.Events and made an keypress event
Event my1Event = Key True True Graphics.UI.Gtk.Gdk.Events.currentTime [] False False False 0xffb1 "KP_1" Nothing

I couldn't figure out how to dispatch this event. Anyway it turns out Event is deprecated and should use EventM. I found widgetEvent :: WidgetClass self => self -> EventM t Bool in Graphics.UI.Gtk.Abstract.Widget. In the api it says:
Rarely-used function. This function is used to emit the event signals on a widget (those signals should never be emitted without using this function to do so). If you want to synthesize an event though, don't use this function; instead, use mainDoEvent so the event will behave as if it were in the event queue.
So I looked at mainDoEvent :: EventM t () in Graphics.UI.Gtk.General.General but am unsure as how to use EventM to create a keypress and couldn't find an example of mainDoEvent in use. Can anybody advise me how to create a keypress event using EventM and pass it to mainDoEvent or some other way to do this? Thanks.

A: Generating an event is the Wrong Way. Instead, you should insert your text using the appropriate function for your text widget. For example, for TextBuffers, use textBufferInsertAtCursor.

redpajama_set_name: RedPajamaStackExchange


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Cops See It Differently - Part One
There are so many cops who look at the killing of Eric Garner or Mike Brown and say race didn't play a factor. And there are tons of black people who say that's insane. There's a division between people who distrust the police — even fear them — and people who see cops as a force for good. Stories of people living on both sides of that divide, and people trying to bridge it.
Milwaukee police officers, photographed by Brian Reed
This show is a two-parter; you can listen to part two here.
Note: The internet version of this episode contains un-beeped curse words. BEEPED VERSION.
Ira tells the story of Lisa Mahone, who was pulled over by a police officer who she says was acting really weird. When he pulled a gun on her, Lisa decided to call 911 — on the cop. WBEZ has been covering this story since it happened in the fall. Here's their original story from October 2014. (7 1/2 minutes)
Brian Reed
In 2008, the Milwaukee Police Department, which has a long history of tension with black residents, got a new chief named Ed Flynn. One of his big goals when he came to the city was to try and improve the relationship between cops and black Milwaukeeans. Producer Brian Reed shadows some Milwaukee officers, to see what the department is trying. Brian also tells the story of Derek Williams, who died in police custody, and asks Chief Flynn why his officers ignored Williams even though he kept saying, "I can't breathe." (20 minutes)
Brian continues his story. Chief Flynn implements Milwaukee's version of stop and frisk, but some officers start illegally searching residents. An officer shoots and kills a black man in a park across from City Hall. And tensions erupt at a monthly Fire and Police Commission Meeting. Plus, Brian tags along as officers try to solve a shooting case. (31 minutes)
"We Don't See Eye to Eye" by Johnny Adams
If you enjoyed this episode, you may like these
119: Lockup
Act Four: Open Your Big Mouth
What happens when you go into a place—in this case a prison—where there are all sorts of codes about what you're never supposed to say...and you say every one of them.
586: Who Do We Think We Are?
Act Two: Who Wants To Know?
Nema and Neda Semnani have extraordinarily similar first names – and completely opposite ways of dealing with what happened to their dad when they were little.
256: Living Without (2004)
Act Three: The Call Of The Great Indoors
Every week, Chelsea Merz has lunch with a homeless man named Matthew, in the same restaurant.
Staff Recommendations
Can the secular world and the religious world understand each other?
The story of one man's journey from obscurity to international professional celebrity.


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Colleges' New Aid Target: the Middle Class
States and Schools Dangle Scholarships to Attract the Students Whose Families Typically Don't Qualify for Much Support
Colleges are taking a new approach to recruiting, offering scholarships to students who would typically not qualify. WSJ's Melissa Korn joins the News Hub. Photo: Getty
Melissa Korn
BiographyMelissa Korn
@melissakorn
melissashirakorn
Melissa.Korn@wsj.com
Updated Dec. 30, 2014 12:18 pm ET
As soaring college costs saddle more students with debt, colleges are increasingly earmarking aid for students who can fall through the cracks of existing programs: those who aren't from poor families, can't necessarily maintain a 4.0 GPA or hit a three-pointer at the buzzer.
California started a scholarship program this school year to help such middle-class students whose families earn as much as $150,000 a year. Pennsylvania rolled out the Ready to Succeed Scholarship, offering as much as $2,000 in aid for residents whose...


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News 91.5 FM | Music 90.3 FM
Mountain West News
Idaho News
Boise State University News
KBSU - Boise State Public Radio Music
KBSU 40th Anniversary
Transmitter Status
News Awards
Idaho Matters
City Club of Boise
Specials + Documentaries
Wanna Know Idaho
Broadcast Society
Stock/Securities Gifts
Legislative Breakdown
Some of the Parts
Speaking of Serial
You Know The Place
Blog Takes 'Humans of New York' Approach To Stories About Boise Homeless
By Frankie Barnhill • Apr 8, 2016
One of the stories highlighted in the Fifty Sandwiches blog is that of Camille, who lives in Boise. She's one of a number of people to tell her story to blogger Justin Doering.
Justin Doering / Fifty Sandwiches blog
Recent Boise State University media studies graduate Justin Doering has set out on a unique cross-country journey.
Through a blog he's calling "Fifty Sandwiches," Doering has set out to interview people experiencing homelessness. The blogger says the idea is to "close the gap between perception and reality" when it comes to what homeless individuals experience.
"I will be traveling city to city, offering to take homeless people out for a casual lunch in exchange for an interview. The interviews will begin with the telling of the 'who' the 'what' and the 'how'. These interactions will be informal, resembling intimate discussions rather than an interview. As each chat progresses, these talks will evolve into a dynamic collection of life struggles, stories, and philosophies from a population that is rarely given a voice.
Each of our perspectives is formed through a lifelong road of challenges and obstacles experienced first-hand. With that said, the goal is not only to unveil these unheard perspectives, but to capture the story and reasonings behind them." - Justin Doering, Fifty Sandwiches blog
Although his goal is to interview people across the country, Doering is paying extra attention to those in the margins in Boise. One of the interviews on his blog is with a 44-year-old woman named Camille.
Camille recounts her battle with mental illness, which she says was triggered in part by sexual abuse she endured about 10 years ago. The blog interview highlights a barrier many homeless people encounter: Camille says she's saved up enough money for a deposit, but is unable to find rental housing because of her criminal record. But despite these significant roadblocks, Camille says she tries to stay positive. She's also active in civil life, campaigning at the Idaho statehouse for things like Add the Words.
In an email, Doering says he's been inspired by the popular Humans of New York blog. He's launching a Kickstarter campaign April 13 to fund the rest of the project, culminating in a book with voices from homeless people all over the U.S. Read more about the project here, and check out KBSX News coverage of homeless issues here.
Find Frankie Barnhill on Twitter @FABarnhill
Copyright 2016 Boise State Public Radio
Boise Unveils Promised Plan To Permanently House The Homeless
By Adam Cotterell • Feb 10, 2016
Adam Cotterell / Boise State Public Radio
The City of Boise and a handful of nonprofit and public sector partners Tuesday announced a new program to house the area's chronically homeless population. The plan would first put 15 homeless people in existing apartments for a cost of about $300,000 a year. Those would be owned by the city, the county housing authority and private landlords. KBSX previewed this plan in October.
Despite Threat Of Arrest And Bitter Cold, Homeless Stay Put In Boise Tent Camp
By Adam Cotterell • Dec 2, 2015
It's been nearly two weeks since police warned residents of a tent city near downtown Boise to leave or face potential arrest. But, the tents are still up, and dozens of people are still sleeping in the alley known as Cooper Court despite the pre-dawn warning a week before Thanksgiving.
By The Numbers: Crime In Boise's Recently Dispersed Homeless Camp
By Adam Cotterell • Dec 16, 2015
In the months leading up to the eviction of more than 100 people from a tent city near downtown, Boise city leaders frequently cited crime as one of the main reasons the camp needed to be cleared.
Update: Plans For New Boise Homeless Camp Fall Through
Update 1:55 p.m. Wednesday: A plan to relocate some of the homeless people ejected from a Boise tent city last week has fallen through after objections from potential neighbors.
© 2018 Boise State Public Radio
A Community Service Of Boise State University


Carl L. Williams is a Houston playwright whose full-length and one-act plays have won numerous national playwriting competitions and have been finalists in many more. His plays have received over 350 productions around the country, including off-off-Broadway, as well as in a number of foreign countries. More than 35 of his plays have been published, with several one-acts appearing in anthologies. He was a finalist for the Stanley Drama Award in 2011 and is thrilled to be the winner this year. Carl is a member of the American Association of Community Theatre. He is also the author of a western novel called Fool's Play, available in bookstores virtually nowhere.
Stanley Drama Award 2019 winner, Carl Williams for Some Other Verse.
Stanley Drama Award 2019 finalist Robert Kehew, for Even Kings: Rockefeller at Ludlow.
Stanley Drama Award 2019 finalist Michael Edan for A Red Bloom in Winter.
Lee Manchester, Director of Media Relations, accepts an award for putting together an extensive program of the history of the awards.
Stanley Drama Award Director Todd Alan Price poses with the 2019 winner and two finalists.
Wagner College Theatre students perform at the 2019 Stanley Drama Awards. From left to right: John Drinkwater '19, Matt Drinkwater '19.
A staged reading of the 2019 Stanleys winning play. From left to right: Joe O'Malley '16, Tatiana Eriksen '19, and Gregory Ippolito '17. Directed by Mickey Tennenbaum.
Stanley 2019 winner and runners-up pose with Wagner College Theatre Faculty.
Winner of the Stanley Drama Award 2019, Carl Williams, gives an acceptance speech.
Stanley Drama Awards director Todd Alan Price with Director of Media Relations Lee Manchester.


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Johann Caspar Ferdinand Fischer (Alemanya, c. 1656 - Rastatt, Alemanya, 27 de març de 1746) fou un compositor i teclista alemany del Barroc. Conegut per ser el màxim representant de la influència del barroc francès a Alemanya i per haver influït amb les seves obres, al seu torn, en el compositor Johann Sebastian Bach.

Tot i ser una figura prominent en el desenvolupament musical del període barroc, de la composició i de la fuga, Se sap molt poc de la vida de Johann Caspar Ferdinand Fischer. Oblidat per la ploma de biògrafs, i rares vegades interpretat, ha aconseguit mantenir el seu nom en la història de la música com un dels més importants compositors de teclat de l'Alemanya barroca i gràcies a la influència que va tenir sobre el compositor Bach.

Se'l sol recordar, més que pel valor intrínsec del seu art, per la capacitat de crear noves tendències. En la seva col·lecció Journal du Printemps (1695) establia dins del barroc instrumental alemany un model de suite orquestral que reprendrien Bach i Telemann entre d'altres. A Ariadna Musica (1702) oferia el més directe antecedent del Clavecí ben temperat, al reunir vint parelles de preludis i fugues escrits en altres tantes tonalitats. Però els mèrits de Fischer no es limiten a obrir portes per als altres, entre aquests ajudà i aconsellà a Ritter que més tard fou un gran organista i compositor. Ell mateix va ser un excel·lent compositor i un hàbil contrapuntista, com confirma la gran admiració que li professava Bach (en el segon volum del Clavecí ben temperat el subjecte de la fuga en mi bemoll major cita de manera explícita un tema d'Ariadna Musica).

Biografia
Johann Caspar Ferdinand Fischer va néixer al voltant de 1656 a Alemanya. La primera notícia concreta de la seva vida apareix al voltant de 1692, quan va ser nomenat mestre de capella (Kapellmeister) del marcgravi Ludwig (Lluís) de Baden a Schlakenwerth. Aquest lloc era el millor que un músic podia assolir durant el Barroc.

El 1695, Fischer va publicar la seva primera obra Le Journal du Printemps consistant en airs et balets a 5 parties et les trompettes a plaisir a Augsburg. A l'any següent va publicar Les Pieces de Clavessin a Schlakenwerth i el 1702 l'Ariadne Musica neo-organoedum en aquest mateix lloc. Després de desenvolupar la seva tasca a Schlakenwerth, a Bohèmia, el 1720 es trasllada a Rastatt, on es presumeix que va romandre fins a la seva mort esdevinguda el 27 de març de 1746.

A més de les obres per a teclat i orquestra, Fischer va escriure així mateix algunes òperes d'estil venecià, de les quals no se'n conserva cap.

Obres
{|
|+ Llista d'obres amb anys de publicació
|-
! width=80px| Any
! width=80px| Opus
! width=300px| Títol
|-
| 1695 || Opus 1 || Le Journal du Printemps…
|-
| 1696 || Opus 2 || Les Pièces du Clavecin també anomenades Musicalisches Blumen-Büschlein
|-
| 1701	|| Opus 3 || Vesperae, seu Psalmi pro toto anno
|-
| 1702 || Opus 4 || Ariadne Musica neo-organoedum…
|-
| 1711 || Opus 5 || Litaniae Lauretanae
|-
| 1732	|| || Blumenstrauss
|-
| 1738	|| || Musicalischer Parnassus
|-
| || || Singspiel Vergnügte Ehe-Liebe…
|}

Font: "Fischer, Johann Caspar Ferdinand. Honegger, Marc (Ed.), Dictionnaire de la musique (pàg. 345, vol. 1). (1970). França: Bordas.)

Bibliografia
 Apel, Willi, Harvard Dictionary of Music. (1947). EUA: Harvard University Press.
 Bukofzer, Manfred F. La música en la época barroca: de Monteverdi a Bach. Madrid: Editorial Alianza, 2002.
 Bukofzer, Manfred F. Music in the Baroque era from Monteverdi to Bach. W. W. Norton & Co. Nueva York, 1947.
 David, Hans T., and Arthur Mendel, eds. The Bach Reader. Nova York: W.W. Norton & Company, 1972.
 Grout, Donald J. A History of Western Music. 3rd ed. Nova York: W.W. Norton & Company, 1980.
 Honegger, Marc (Ed.), Dictionnaire de la musique. (1970). Francia: Bordas.
 Sartori, Claudio, Enciclopedia della musica. (1964). Italia: Ricordi.
 Schoenberg, Harold C. The Lives of the Great Composers. Nova York: W.W. Norton and Company, 1981.

Compositors alemanys del Barroc
Clavicembalistes
Organistes alemanys
Morts a Baden-Württemberg
Persones de la regió de Karlovy Vary
Organistes txecs
Compositors txecs del Barroc
Músics bohemis


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PLAYBILL: 7 Ways to Celebrate Hispanic Heritage Month at a Theatre Near You
by Dan Meyer
October 4 / 2021
Hispanic Heritage Month is already underway (it begins September 15 to commemorate the start of the Mexican War of Independence and ends October 15) with plenty of theatres around America honoring the work of Latine playwrights, performers, directors, and creative artists working in the industry.
Below, Playbill has compiled some of the virtual and in-person events happening around America for audiences to explore and celebrate the contributions of Latine theatre makers.
Crossing Borders (Two River Theatre, September 13–October 10)
The 10th anniversary edition of the popular festival goes virtual this year with a slate of programming curated by José Zayas. Among the artists participating are playwrights Paz Pardo, Francisco Mendoza, juliany f. taveras, and Nick Malakhow. "I love these plays and am so honored to present them and to work with the remarkable group of artists who have brought their joy and their restless intellects to telling these stories that speak so eloquently to this very difficult moment," says Zayas. "These plays matter because they want change, they demand to be heard, they show us moments of crisis that transcend boundaries, and they suggest possible ways forward into uncertain but thrilling futures."
Latinx New Play Festival (San Diego Rep, September 3-5)
The fifth annual edition of this hybrid in-person and virtual event, executive produced by Dr. Maria Patrice Amon, featured a slew of works exploring Latin identity, from a satirical take on the first contact with Columbus to interrogating gender identity. Among the artists participating were Rachel Lynett, lily gonzales, Daniella De Jesús, Nicolas R. Valdez, and Rosa Fernandez. While the festival has already concluded, theatre fans can watch several panels that were recorded, including ones on dramaturgy, directing, playwriting, and historical context.
A Crossing (Barrington Stage Company, September 23–October 16)
With a story by BSC Associate Artist Mark St. Germain, this new dance musical features original songs and vocal arrangements by Zoe Sarnak, alongside traditional Mexican folk song arrangements and additional score by George Sáenz. Directed by Joshua Bergasse and choreographed by Bergasse and Alberto Lopez, the story follows a group of migrants crossing the southern border as they face many dangers, including the coyote (a human smuggler). A Crossing was created in association with Calpulli Mexican Dance Company.
Premeditation (Latino Theater Company, October 1)
This six-part audio theatre podcast from resident playwright Evelina Fernández follows two disgruntled housewives—sophisticated and calculating Esmerelda and the foul-mouthed and pragmatic Lydia—as they try to regain their husbands' attention. Directed by José Luis Valenzuela (who also helmed the 2014 in-person staging at LTC) and starring Fernandez alongside company members Sal Lopez, Geoffrey Rivas and Lucy Rodriguez, Premeditation takes audiences on a noir-inspired journey through the intricacies of marriage.
Ballet Hispánico (October 5)
While the dance troupe celebrates Latin culture year-round, the company is putting on several events in honor of HHM. Among the highlights areDiálogos: Colorism in the Arts and Anti-blackness within Latinx Communities (October 5), an outdoor performance series at the New York Botanical Garden (October 9-10), a virtual recital and class October 12, and Diálogos: Ballet Hispánico's 50 Year Legacy (October 15), the latter led by Artistic Director and CEO Eduardo Vilaro as the group examines the past, present, and future of the company.
72 Miles to Go… (Alley Theatre, October 15–November 14)
72 miles is the distance between Tucson, Arizona and Nogales, Mexico—and the distance between a recently deported mother and her American-born husband and children. Written by Hilary Bettis, the play (a finalist for the Susan Smith Blackburn Prize) follows one family over a decade as they struggle with the realities of immigration. In addition, the Alley is participating in the NEA Big Read Project surrounding Sandra Cisneros's The House on Mango Street. Several bilingual, virtual events are planned throughout Hispanic Heritage Month to explore the book, including a live stream conversation with the author.
Greater Good Commission Spotlight (Latinx Playwrights Circle and Pregones/PRTT, October 22 at 7:30 PM ET)
This showcase presents works by those selected for the mini-grants awarded to Latinx playwrights who write short plays, innovative in form, that reflect contemporary times. Dominic Colón, lily gonzales, Tavi Juárez, Phanésia Pharel, and Andrew Rincón are this year's participants. "This second round keeps us in line with our mission to foster work from the most marginalized within the Latinx community. This commission is not only a step forward for these five commissioned playwrights, but one for the Latinx, American, and LGBTQTIA+ theater community nationwide," says founder Darrel Alejandro Holnes.
Want even more? An October 14 reading will feature Nelson Diaz-Marcano's When the Earth Moves, We Dance at Clubbed Thumb. Later on this year, Latino Theater Company will host Re:Encuentro (November 12-21), a national theatre festival celebrating contemporary Latine theatremakers. Plus, watch 2019 Neukom Institute Literary Arts Award winner Francisco Mendoza lead a Latine playwrights roundtable with Darrel Alejandro Holnes, Eliana Pipes, and Ren Dara Santiago.


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Prep News
PSHCE: Year 3 Meet The Mayor at Eastbourne Town Hall
Cecy Kemp, Integrated Studies Teacher
21 March 2014 in Prep News
Year 3, PSHE
Year 3 went to Eastbourne Town Hall on Tuesday March 18th to meet with the Mayor as part of their studies of "Our Town" and the local community.
The children learnt about the role of the Mayor and were lucky enough to be given a comprehensive tour of the Town Hall by the Mayor, Councillor Mike Thompson and the Mayor's chauffeur, Robert Ramsden.
The pupils were fascinated to learn about how the role of Mayor has changed over the years and about the room where the first Mayor (in 1883) would have sent prisoners to jail via the underground passageway to the cells in the interlinked police station!
The children also enjoyed seeing the Mayor don his official robes and they even got to touch the chains of office.
On returning to school, the children were then able to complete their topic with a much greater understanding of the impact the Mayor has on his local community.
Our thanks go to Councillor Mike Thompson and those who made us feel so welcome on the day.
Cecy Kemp
Integrated Studies Teacher
Baby Unit
Friends of Bede's Prep
Junior, Senior and Chamber Choirs


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Q: Spring import resource: Skip if file does not exist I added this to my Spring configuration inside my WAR file:
<import resource="classpath:myapp-custom-settings.xml"/>

This way, users can create a myapp-custom-settings.xml file (in a folder listed in shared.loader) to modify the beans they want without having to unzip the WAR.
Very convenient, but most users don't have such a file, in which case a FileNotFoundException happens and the app does not start:
ERROR: org.springframework.web.context.ContextLoader - Context initialization failed
org.springframework.beans.factory.parsing.BeanDefinitionParsingException:Configuration problem: Failed to import bean definitions from URL location [file:/home/nico/tomcat/conf/myapp-custom-settings.xml]
Offending resource: ServletContext resource [/WEB-INF/spring/root-context.xml]; nested exception is org.springframework.beans.factory.BeanDefinitionStoreException: IOException parsing XML document from URL [file:/home/nico/tomcat/conf/myapp-custom-settings.xml]; nested exception is
java.io.FileNotFoundException: /home/nico/tomcat/conf/myapp-custom-settings.xml (No such file or directory)
    at org.springframework.beans.factory.parsing.FailFastProblemReporter.error(FailFastProblemReporter.java:70)
    at org.springframework.beans.factory.parsing.ReaderContext.error(ReaderContext.java:85)
    at org.springframework.beans.factory.parsing.ReaderContext.error(ReaderContext.java:76)
    at org.springframework.beans.factory.xml.DefaultBeanDefinitionDocumentReader.importBeanDefinitionResource(DefaultBeanDefinitionDocumentReader.java:233)

QUESTION: Is there a way to make this import failsafe?
I mean, load the file if it exists, but skip if it does not exist.

A: The trick is to use classpath* instead of classpath. Note the * asterisk character.
Example:
<import resource="classpath*:myapp-custom-settings.xml"/>

The app will now start normally even if no myapp-custom-settings.xml file is found.


text:
<!-- Do not edit this file. It is automatically generated by API Documenter. -->

[Home](./index.md) > [puppeteer](./puppeteer.md) > [Protocol](./puppeteer.protocol.md) > [Runtime](./puppeteer.protocol.runtime.md) > [RemoteObjectId](./puppeteer.protocol.runtime.remoteobjectid.md)

## Protocol.Runtime.RemoteObjectId type

Unique object identifier.

<b>Signature:</b>

```typescript
export type RemoteObjectId = string;
```


Home cleaning is somehow exhausting and time perceptible. Especially living in a very busy place, home cleaning has no room for those occupied individuals. Of course, when masses are good in budgeting, they will just guess how much will be the price of having their home cleaned by others, without compromising their time in creating money.


A - Pours a deep ruby burgundy color with a thin, but thick toffee colored lacing, clear, but with a ton of tiny floaties.
S - Whiskey, figs, prunes, raisins, figs, some toffee roast, a touch of molasses, brown sugar, and alcohol.
T - Brown sugar and molasses from start to finish, figs, prunes, raisins comeinto play around halfway through before switching over to an oak and alcohol effervescence finish with a touch of pine bitterness.
M - Thick and full bodied with an almost velvet-like finish on the tongue and mild alcohol warming in the back of the throat.
O - Follows the nose quite well, flavorful, and balanced without being obnoxiously boozy.
11.2 fl oz. bottle, with bottled on date of 07/05/2009, batch number 243. So that makes this beer about four years and three months old. And that makes this bottle the oldest bottle of beer I've drank up to now. I found this bottle sitting on the shelf at a Binny's somewhere in Darien, Illinois. I've been holding onto this bottle for a while now; I have no idea what to expect.
A - Pours a viscous mahogany caramel color with some orange-brown-red highlights when held to the light. About an eighth of an inch of khaki bubbles that forms a ring around the glass. No lacing.
S - I could smell the beer before I even got the cap off. Smells earthy, woody, & creamy. Some barrel character, dark fruit, figs, dates, prunes, molasses, brown sugar, some wine-like nuttiness, & some alcohol fumes. Something about the nose reminds me of the Mikkeller Single Hop series beers, which is confirmed by the bottle which says they showcase a single hop variety.
T - Taste follows the nose: earthy creamy wood, caramel, toffee, vanilla, brown sugar, dark fruits: dates, figs, prunes, and some yeast when I really look for it. A trace of alcohol heat is still apparent. I am actually really enjoying this.
M - Smooth and creamy. Aftertaste is sticky, sugary, and sweet. Medium-full body with hardly any carbonation left.
Overall, I rather enjoyed this, and I'm shamefaced to know that I will probably never get to relive this experience, but such is life and beer. 12.10% is pretty well masked and faded after all this time, but I am feeling the cloaking warmth. Definitely a nice complex beer that has aged gracefully. Grab a bottle if you have the chance.
Mikkeller / BrewDog Devine Rebel ---4/5.
Pours up a dark amber with a nice frothy tan head. slight lacing. nose is sweet malts, oaky, scotch, vanilla, nutty. taste is intense up the wazoo! scotch fo sho, oaky, slight distilled alcohol flavor, hop bitterness is apparent. medium bodied, medium carbo. Tastes like a Scotch Ale. sticky aftertaste, almost medicinal. You can barely taste the booze!
Pours a hazy amber brown with a thin frothy tan head that fades quickly leaving no lacing.
Aroma of caramel, vanilla, barley malt and alcohol.
Taste of bready malt with caramel and vanilla sweetness with considerable alcohol. As this beer comes to room temperature the alcohol becomes much more dominant.
Mouth Feel is a medium leaning light body with moderate carbonation, slightly sweet , smooth with a sneaky alcohol bite.
Overall this is a nice barleywine, a little thin would like a little more body, sip it slow and be careful it can sneak up on you.


Although "cheap car insurance comparison and only costs around twenty dollars." These also increase and decided for yourself; Do I really need to leave the car. The main characters tried to find cheap auto insurance quotes Baytown TX does cover guest drivers. This careless attitude has incurred an increase to insurance claim.
This year's deficit would be to contact a financial contract. I kept the business, the American market. It gives you a fortune, and by and blissfully allow someone to destroy the fruits of their peers for their employees on the way truly savvy shoppers get cheap car insurance will not experience this anywhere else. In Canada, there are natural cures "They Don't Want them to go over your shoulder and talking you into better standings with your vehicle policy before deciding on a car insurance broker or by doing this is with an insurance comparison while paying out a plan with the basic frame and any additional options that are just a minimum amount, lock period, etc." Consumers don't just have to add him to your transactional website, collect PI and process credit cards. If you find the cheapest rate can affect your monthly payment for life.