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"In Case Of Emergency Make Your Own City" Lecture at the Cape Institute for Architecture
Who can win a battle against a city?
It is an honour for us to be invited to talk about junk cities at the Cape Institute for Architecture.
Hope to see you there tomorrow Wednesday at 17.30h.
Where: Cape Institute for Architecture, 71 Hout Street, Ground Floor, Cape Town, 8001.
When: 19.11.2014 at 17.30h.
in	Events & News
In Love We Trash in the World Design Capital 2014 Cape Town.
Basurama, in collaboration with the Spanish Embassy in South Africa and Greatmore Studios, will be one of the last of World Design Capital project's in the public arena of Cape Town this November.
In Love We Trash encompasses a public art project and its process of reflection on waste, consumption and public space. Together with empowered local communities and trained creators we aim to raise new collective points of view, reflection and research on the cities of today.
Several researches reveal that around 3.500 plastic particles per square kilometre exist along the South African coasts. The analyses made on 50 of the South African beaches show that plastic pollution has increased by 190% in the last five years. More than 90% of all articles found on these beaches were made out of plastic. Plastic is now found on practically all South African beaches
In Love We Trash embodies a better way to understand how to work with what is readily available around us, leftover materials or underused public spaces. Plastic waste can be a new and valuable category of resources; it is both a form of infrastructure and a source of information to understand consumer society.
In Love We Trash has thus far participated in over 10 countries across 4 continents, with the participation of over 40.000 citizens. Each intervention is specifically designed for the city in which it is located. For this occasion Basurama makes a special nod to the South African seas, keeping in mind The International Year of the Ocean.
Dates and Exhibition
. From 10 to 20 November workshop at Greatmore Studios.
. 21 y 22 November Public Installation at Gardens Centre Mall and Company Gardens respectively.
22 August, 2014 22 August, 2014
Batumi and an open air Cinema in the Summer nights
We have been invited to take part in the Batumi Urban Art Festival "Art Active" 2014, organized by "Lets meet Europe" (Action Global Communications) with 2 local curators: Tamara Bokuchava (social photography Caucasus foundation), Nini Palavandishvili (GeoAIR).
The urban art festival "Art Active" is the first of its type in Georgia. It represents part of the EU funded project "Culture Factory" since 2013. The Urban art takes inspiration from many countries of Europe and addresses directly and immediately the general public of any segment of audience, especially youth. Events meant to propose the best samples of community based urban art from different countries of Europe, and show how dialogue and shared good feelings are possible beyond linguistic and cultural diversity.
The main concept is to use tool of community art for integrating local community especially youth. The idea is to communicate values for ecology, environmental protection and change the way we look at trash. With our urban interaction we get closer to the duality consumption / waste and its social and environmental impact. The event is joint work with local students to construct an artistic installation for open-air cinema using plastic bags and used tires.
Construction will take place in the Batumi Contemporary art Centre from 22 to 29th of August and during last two days, 28-29 of August, there will be an official inauguration of the open-air cinema installation.
With the support:
5 July, 2014 5 July, 2014
Luxo é Lixo (Lujo es Basura). IN LO<3 WE TRASH_Río de Janeiro
Con motivo del III Encuentro de Rectores en Río de Janeiro, Fundación Banco Santander y Universia nos invitan a participar en la creación de una pieza de arte conjuntamente con universitarios brasileños. El proyecto Luxo é Lixo (Lujo es Basura), se enmarca dentro de la línea de trabajo IN LO<3 WE TRASH que Basurama viene desarrollando en ciudades tan dispares como Bangkok, Casablanca, Estambul, El Cairo o Gdansk. En este caso nos inspiramos en un conocido poema visual de Augusto de Campos.
Basurama realizará un taller con estudiantes universitarios para la construcción colectiva de un poema visual de escala urbana, compuesto por residuos producidos a escala local. Más de 2.500 bolsas de plástico, símbolo del consumo diario, serán transformadas en una obra de unos 7 metros de altura y más de 20 metros de largo.
Estaremos en UNIRIO / Espaço Cultural – Sala de Exposições do CCH impartiendo los talleres de construcción y creación durarán 10 días, del 5 al 15 de julio, en jornadas de mañana y tarde. La inscripción es libre y gratuita, a través del email [email protected], pudiendo asistir todos los días, o días alternos en función de la disponibilidad de cada cual. No se necesita ningún conocimiento ni experiencia previas.
La obra se expondrá los días 16 y 17 frente a la biblioteca de UNIRIO.
26 June, 2014 5 March, 2015
It's All Yours
Fryday Late at Victoria and Albert Museum
The V&A belongs to all of us. But what does this really mean? How do design and architecture frame contemporary public life? As part of the London Festival of Architecture, June's Friday Late explores ideas about civics, democracy, public space, and the role that the public museum can play in shaping this.
Basurama has been invited to participate in this great event with the installation "You Are What You Throw Away!"
You Are What You Throw Away!
We will construct a carpet out of Museum rubbish which will take pride of place in the Grand Entrance. Compose a collage of items from the carpet of trash, label it and vacuum pack it as your very own customised Museum souvenir.
Where: at V&A Museum in the main entrance on Cromwell Road.
When: 27th June, 2014, from 18.30 – 22.00.
Bochum Factory of Leisure and Care – Bochumer Freizeit und PflegeWerk (BFPfW)
Collective luxuries project: HOW TO BECOME A GRANNY?
www.facebook.com/freizeitundpflegewerk
Participation in project "This is not Detroit", by Schauspielhaus Bochum and Urbane Kunst Ruhr. Bochum, Germany 12th -21st June, 2014
"Sit under the sun, abdicate and be your own king." Fernando Pessoa.
Eric Hobsbawm used to claim that London Tube was the biggest luxury mankind ever had: no yacht, sports car, or jewelry can be compared to that collective effort. BFPfW is a proposal for enjoying and reflecting on how to manage our collective wealth, taking care of our common ground and of each other in the time when we are all becoming grannies.
Good old Europe, like in granny's, is the only place where carework still means something: in the ruthless post-capitalist societies arising in emergent countries and in the nightmares we have when facing the future, we have to take care of each other, both as the ultimate and the indispensable way of keeping ourselves together.
Everyone is welcome to propose all kind uses for the BFPfW, and to enjoy it. Can we think of a collective relax, fun and meeting space we manage, where we set the cooperation rules and colonnise this spaces that the failure of capitalism leftover for our future?
It will be open to public program for two weeks, but everyone is also invited to join the building process. Relax and enjoy your old age. No one can take that away from you.
CURATORS OF THE WHOLE SPANISH PARTICIPATION
www.thisisnotdetroit.de
This project is part of the spanish participation in the "This is not Detroit project", a project willing to reflect on the future of the european cities, jobs and industry. For that, curators and artists from Liverpool, Gliwice and Zaragoza (the cities where still Opel Factories are open) have been invitied to propose projects. Apart for proposing a project of their own, Basurama has selected the following collective creation projects from Zaragoza:
Undo Estudio – Festival Asalto.
http://www.undoestudio.com/
http://www.festivalasalto.com/
Esto no es un solar project – Gravols di Monte Architects
https://estonoesunsolar.wordpress.com/
http://gravalosdimonte.com/
Festival Trayectos – Urban dance festival
http://www.danzatrayectos.com/
A_Zofra – Metropolitan studies group of Zaragoza.
https://azofra.wordpress.com/
2 June, 2014 5 March, 2015
Playgrounds: MNCARS meets Autobarrios
From 30 April to 22 September you can visit the exhibition "Playgrounds, reinventing the square" in the Museo Nacional Centro de Arte Reina Sofía. As a complementary activity, MNCARS scheduled eight sessions with visits to some highlights of Madrid.
As part of this program, today at 18pm. there will be a meeting in the space of Autobarrios Sancristóbal. Is a good time to catch up and discover some of those wonderful things that are happening in the outskirts of Madrid …
9 May, 2014 9 May, 2014
All On Wheels in Vienna
We have been invited to participate in the SOHO IN OTTAKRING 2014 festival.
If you are in Vienna, fed up of watching and using the same old urban furniture come on and join us!
We will be designing and building new-latest-crazy-urban-furniture from 13 to 18 May
Can you think of any better way to start the spring than rolling?
To know more click here.
17 March, 2014 5 March, 2015
Talk at "Emerging ICT for Citizens' Veillance: Theoretical and Practical Insight" workshop
Thanks to the workshop of balloon mapping documentation Defiende el territorio desde el aire with Public Lab tools, we've been invited to participate in the "Emerging ICT for Citizens' Veillance: Theoretical and Practical Insights" workshop organized by the Institute for the Protection and Security of the Citizen of the Joint Research Centre of the European Commission (March 20-21 2014. Ispra, Italy).
We'll talk about the workshop: methodology; engaging and building community and techniques under the Experiences using ICT for Artistic Civic Science on Friday at 1.30pm.
Meanwhile, the balloon mapping kit is still available in the Valencian region for anyone who wants to start with balloon mapping. The first meetup is being organized by one of the participants on Sunday March 30th 2014 in la Valldigna (La Safor-Valencia). For more information about this topic subscribe and participate in the LaboratorioPúblico email group.
15 January, 2014 16 January, 2014
All our questions to the scheme for Discussion paper of the 6th World Summit on Arts and Culture
We have been selected by the global network of arts councils and ministries of culture @ifacca as a case study for the discussion paper for the 6th art summit held in Santiago de Chile in january 2014: http://artsummit.org/programme/research/
Here are the answers for the whole scheme they asked us:
Describe the main objectives of your project and / or organization:
Basurama works as a platform for the implementation of projects related to creation and garbage , understood in its broadest sense, based upon the reuse of materials and processes of high social complexity. It works in a variety of cultural and social fields such as cultural management, production of shared knowledge , artistic practice as a tool for transformation , construction of public space , empowerment and autonomy of communities, training and critical reflection on consumer society from active proposing. Crosses multiple disciplines and connects wide range of professional areas that not often work together.
What context and / or event encouraged the creation of your organization?
Born in the university context (ETSAM School of Architecture of Madrid, 2001) from the desire to overflow it and share knowledge; at the peak of the time of authorship, loneliness and individualism, when the heroism of the starchitects was the example to follow.
We wanted to start a crisis of a model we considered obsolete, and needed to raise questions about our nearest reality. Basurama quickly proposed itself as a space for non-formal learning , collective and shared with others, making it an ever-mutant device than can be adapted to the different situations it comes across; both local contexts and historical events such as economic trends and different cojuntures.
Garbage was the starting point. Garbage is transversal, democratic, unifying and foremost is a resource available to everyone , easily accessible and with a huge creative potential. When we put the residue in the center of our discourse, we look at it as a tool , as creation materia and as mechanism of reflection on who we are (as individuals, as a community, as a society … ). It is a way of questioning the structures in which we integrate, with the intention of seeking alternatives.
From your point of view, how does your project and organization seeks to contribute to the World Summit theme? How do they relate to these events?
Basurama constantly seeks to contribute to the location of the arts , creating and thinking into everyday life. It seeks to colonize the fields where you want to work , instead of working from a given field , beign that one architecture, art, ecology , culture or cultural industry. We believe that all cultural manifestations can help today to build a better world, applying their own tools from their own coordinates. The world would not be better because we can devote ourselves to create , but because we understand art as a path to knowledge, as a way of asking questions and making collective knowledge that may prove very useful and enjoyable.
According to your experience; how culture and the arts contribute to overcoming the problems that gave birth to your project?
In general, art has related to environment proposing more care of the environment. From this point of view, some artwork (Land -Art, Joseph Beuys , etc.) have raised lifestyles that had prove very important for the strength of the ecological movement. However, we propose low consumption ways of life offering a view of ecology based more on human life than in nature , operating on production processes , cities and how we relate to them. We think that the whole expansive process of opening up architecture to make it a more open, collective process, has been very useful to propose many accessible tools that allow us to manage our own lives. In addition, the variety and wide range of Basurama production allows us to operate on collective imaginary, which is essential to invent a new and better world.
What conditions and features should have a space to be creative?
It should be a place where trusts are allowed to develop, both in yourself and in others: creating collectively, trust develops step by step. It should be an open and flexible space that can be modified, exploited and appropriated by all those who need it. That way, we create spaces that are a common resource, where we can create a culture that is understood, produced and created as a common good. It must be a space without hierarchies, allowing anyone to contribute with their wealth, knowledge, and creativity from their place, making the most of it.
Regarding the places where your project develops: how important are infrastructure and urban/ rural space for its realization? Have they affected the performance of your activities?
They are very important, beign the starting point, the middle and the end of the process. "Space" also includes people who live and relate to it. When we say " build city from below", we talk about actual physical construction by the citizens; building the city, its public spaces, its streets, etc., with their own hands and tools.
For us, urban space and infrastructure are the item of work nowadats, we are not interested to build something new from scratch. Working with the existing and giving it the maximum of possibiliaties, that is, reusing it potentially, in favour of better spaces and more livable cities. Working with infrastructure as the core of the project (eg, USW Lima) implies questioning the structure itself, giving it other possible uses or boosting new, uncontrolled ones. Working with the existing, transforming it, rethinking it, without the need of building something new, is a way to rediscover your city, get a hold of it, and to dream with the impossible working with the possible.
According to you, What should be the basic principles of an innovative model of cultural development ?
It should be based on a recursive process , in which the construction of hegemonies, preeminent languages, "stars", "mainstream" and trends could be constantly revised from below. It must be a model for economic and personal development of all creators, knowing that "creator" is anyone who wants to be one, and indeed all those who contribute to the modification of their physical, social and living environment. A model that supports all those who build the culture of their environment from a very broad definition of culture, standing beside them rather than pointing their path. forcing them into a given path.
According to the objectives of your project, who are their main beneficiaries? What results have you seen in the community after its implementation ? Please list some examples
Our beneficiaries are always double: the community receiving / building the project, together with the "audience" of the project, which is not always the same community. We reach that "audience" through the internet and traditional media, or going into their fields to work: the environment, architecture, infrastructure, urban management, waste management, pedagogy, cultural industry…
As impacts we have seen, especially, new ways of looking at the world. Some of our projects have created direct replicas or sequels, and we know our materials and suggestions have also been replicated in many different situations around the world. However, we think our most interesting result is our contribution to a present way of proposing, questioning and experiencing the world that is working relatively effectively.
For example; the project "Self Made neighborhoods" (Autobarrios) in a neighborhood on the outskirts of Madrid. Local community: Motor group formed by teenagers, local social associations, social facilitators, local businesses and the District Government. Audience: neighborhood residents, architecture students, people interested in urban transformation, etc…
How important is networking for your organization?
Is the key for our work: we live networked, we are simply a node. The logic of the solitary artist is finished, of course, just as much as the one of an exclusive and elitist "clique". We are all part of one single network: internet, where you can have Open Data, and practices, lives and networks can come across each other. The complexity lays on knowing how to use its full potential.
The network as a horizontal work scenario. We propose our practice in terms of direct collaboration with other artists / actors / groups / collectivsa, with the aim to advance and learn together in order to reach new places. This way, we can create a first swarm network that is multiplied as long as collaborative practice is generated
Regarding your knowledge of your project: What have been the experiences or major milestones?
The university overflow was key to understanding that learning was in us and in our way of living and relating with others.
The strength of direct action and its effect on local realities made us aware of the power of art as a transformative tool, such as it happened with one of our first public actions around an urban conflict in the city of Madrid: building a mega strucutre urban, together with its social and environmental consequences. (Video "I love M30 hiway")
Above all, our Latin American experience : the public art project SUW (Solid Urban Waste) (Residuos Urbanos Sólidos, RUS in spanish). This project directly addressed conflicts in Latin American cities public spaces, processes related to waste and their protagonist: waste pickers, and the life learning with dozens of groups and local artists who we worked in network with to carry out the projects in 14 different cities


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Aesthetica Art Prize: 5 Painters
Be inspired by these five painters from the Aesthetica Art Prize. Discover a range of approaches to the time-honoured medium, from realism to abstraction.
Stephen Johnston
Mortality was a common theme for the Old Masters, with their scenes of luxury and gluttony undercut by reminders of the grave. considers all still life to be concerned with death, and continues this association with his recent pictures of food slowly decaying in glass jars, deconstructed cakes and roadkill.
www.stephen-johnston.co.uk
Khushna
Khushna combines traditional and digital approaches by painting from photographic sources rather than live subjects. Drawing on the influence of the Baroque as well as contemporary figures such as Gregory Crewdson, Khushna believes this process of re-realising an already photographed moment leads to the most intense, distilled vision possible of the experience.
www.khushna.com
Daniel Mullen
For Mullen, painting is a means to figuratively communicate abstract concepts. He has created a series in collaboration with Lucy Cordes Engelman, depicting a form of synaesthesia through spatial representation. Every number from 0 to 9 equals a specific colour, and every number beyond is a composite of those colours.
www.danielmullen.info
Loz Atkinson
Imagined Nebula demonstrates the inability to accurately describe the vastness of something which is so difficult to perceive or understand. Creating nebuli through painting, Loz Atkinson use different textures, giving them no definitive edge that can be perfectly measured. These compositions show that however much we may think we know, we're always an invisible line away from absolute truth.
www.lozatkinson.co.uk
Christopher Stott
Christopher Stott produces clean representational oil paintings that transform vintage objects into icons. The artist depicts a variety of antique items including appliances, books, clocks and typewriters, amongst other common instruments. As subjects, they have a built-in narrative – they tell stories. Turning them into painting creates an intimate experience which asks the viewer to slow down.
www.chrisstott.com
Submit to the Aesthetica Art Prize. Find out more here.
1. Stephen Johnston, Limes in Jar, 2016. Oil on canvas. 120cm x 90cm.2. Stephen Johnston, Eggs in Jar.
3. Khushna,Society, 2016. Acrylic and oil on canvas. 223cm x 167cm.4. Daniel Mullen, Monument to the Future (2015). Courtesy of the artist and the Aesthetica Art Prize.5. Daniel Mullen, 37-67, 2019.
6. Loz Atkinson, Imagined Nebula. Courtesy of the artist.
7. Christopher Stott, Our School. 8. Christopher Stott, Ampro Precision Projector. Oil on canvas, 30in x 36in. Courtesy of the artist
An Absurdist View on Being Human
Chris Gollon has been probing the human condition from an absurdist point of view for the greater part of two decades. His work promises to evoke this age-old topic.
Success Story: Caroline Burraway
Aesthetica Art Prize alumnus Caroline Burraway is announced as the first Prize-winner of the 2018 Trinity Buoy Wharf Drawing Prize.
Eunhyung Kim's Street is part of the Aesthetica Art Prize Longlist. The film is screened at York Art Gallery from 26 May coinciding with Future Now.
Aesthetica is a worldwide destination for art and culture. In-depth features foreground today's most innovative practitioners across art, design, photography, architecture, music and film.
Subscribe to Aesthetica Magazine
New issues straight to your device from just £5.99

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Azure AD: "scope" Property Missing from Access Token Response Body I am writing a Python script to edit an Excel spreadsheet that lives in SharePoint. We have Office 365 for Business. I am using Microsoft Graph API.
I registered the Python app with Microsoft Azure Active Directory (AD) and added the following 2 (app-only) permissions for Graph API: (1) Read and write files in all site collections (preview) and (2) Read directory data. (I had our company administrator register the app for me.)
My Python script uses the requests library to send REST requests:
import json
import requests

MSGRAPH_URI = 'https://graph.microsoft.com'
VERSION = 'v1.0'

def requestAccessToken(tenant_id, app_id, app_key):
    MSLOGIN_URI = 'https://login.microsoftonline.com'
    ACCESS_TOKEN_PATH = 'oauth2/token'
    GRANT_TYPE = 'client_credentials'
    endpoint = '{0}/{1}/{2}'.format(MSLOGIN_URI, tenant_id, ACCESS_TOKEN_PATH)
    headers = {'Content-Type': 'Application/Json'}
    data = {
        'grant_type': GRANT_TYPE,
        'client_id': app_id,
        'client_secret': app_key,
        'resource': MSGRAPH_URI

    }
    access_token = response.json()['access_token']
    return access_token

def getWorkbookID(access_token, fileName):
    endpoint = '{0}/{1}/me/drive/root/children'.format(MSGRAPH_URI, VERSION)
    headers = {
        'Content-Type': 'Application/Json',
        'Authorization': 'Bearer {}'.format(access_token)
    }
    response = requests.get(endpoint, headers=headers)
    print response.text
    assert response.status_code == 200
    items = response.json()['value']
    workbook_id = None
    for item in items:
        if item['name'] == fileName:
            workbook_id = item['id']
    return workbook_id

access_token = requestAccessToken(TENANT_ID, APP_ID, APP_KEY)
workbook_id = getWorkbookID(access_token, WORKBOOK_FILENAME)

The Python app successfully requests and receives an access_token from the Microsoft server. The access token starts like this
eyJ0eXAiOiJKV1QiLCJub25jZSI6...

Then it requests a list of my files in getWorkbookID():
GET https://graph.microsoft.com/v1.0/me/drive/root/children
Authorization: Bearer eyJ0eXAiOiJKV1QiLCJub25jZSI6...

This is the response to that REST request:
{
  "error": {
    "code": "InternalServerError",
    "message": "Object reference not set to an instance of an object.",
    "innerError": {
      "request-id": "aa97a822-7ac5-4986-8ac0-9852146e149a",
      "date": "2016-12-26T22:13:54"
    }
  }
}

Note that I successfully get a list of my files when I request it via Graph Explorer (https://graph.microsoft.io/en-us/graph-explorer).
EDIT:

*

*Changed the title from "Microsoft Graph API Returns Object reference not set to an instance of an object" to "Azure AD "scope" Missing from Access Token Response".

*Changed the "me" in the uri of the GET request to "myOrganization", after reading this: graph.microsft.io/en-us/docs/overview/call_api

That is,
GET https://graph.microsoft.com/v1.0/myOrganization/drive/root/children
Authorization: Bearer eyJ0eXAiOiJKV1QiLCJub25jZSI6...

Now get the following response.
{
  "error": {
    "code": "AccessDenied",
    "message": "Either scp or roles claim need to be present in the token.",
    "innerError": {
      "request-id": "bddb8c51-535f-456b-b43e-5cfdf32bd8a5",
      "date": "2016-12-28T22:39:25"
    }
  }
}

Looking at an example in graph.microsoft.io/en-us/docs/authorization/app_authorization, I see that the access token response body contains a "scope" property that lists the permissions granted for the app during the app's registration. However, the access token response I receive from the server does not have the "scope" property. Here is what my access token response looks like.
{
"token_type":"Bearer",
"expires_in":"3599",
"ext_expires_in":"0",
"expires_on":"1482968367",
"not_before":"1482964467",
"resource":"https://graph.microsoft.com",
"access_token":"eyJ0eXAiOiJKV..."
}

Questions:

*

*I had the administrator register the app in Azure AD and check the boxes for the Microsoft Graph API application permissions needed. Apparently that is not enough. What else is needed? Why are the permissions not in the access token response body?

*What is the correct URI for the GET request? Is "MyOrganization" the correct value in the URI?

A: Thanks all for your responses. After more research, I found the answer to my question.
The original problem: "Microsoft Graph API Returns Object reference not set to an instance of an object"
The request
GET https://graph.microsoft.com/v1.0/me/drive/root/children
Authorization: Bearer eyJ0eXAiOiJKV1QiLCJub25jZSI6...

gets the response
{
  "error": {
    "code": "InternalServerError",
    "message": "Object reference not set to an instance of an object.",
    "innerError": {
      "request-id": "aa97a822-7ac5-4986-8ac0-9852146e149a",
      "date": "2016-12-26T22:13:54"
    }
  }
}

As @SriramDhanasekaran-MSFT noted, /me refers to the currently signed-in user. In our case, we do not have a signed-in user, so we cannot use /me. Instead, we can either use /myOrganization or nothing, it is optional.
The updated problem: "Azure AD "scope" Property Missing from Access Token Response"
The updated (replaces /me with /myOrganization) request
GET https://graph.microsoft.com/v1.0/myOrganization/drive/root/children
Authorization: Bearer eyJ0eXAiOiJKV1QiLCJub25jZSI6...

gets the response
{
  "error": {
    "code": "AccessDenied",
    "message": "Either scp or roles claim need to be present in the token.",
    "innerError": {
      "request-id": "bddb8c51-535f-456b-b43e-5cfdf32bd8a5",
      "date": "2016-12-28T22:39:25"
    }
  }
}

As @SriramDhanasekaran-MSFT and @DanKershaw-MSFT mentioned, the reason why the access_token response was missing the scope property is that the permissions had not been "granted" in Azure AD by the administrator.
However, the solution that @SriramDhanasekaran-MSFT provided:
https://login.microsoftonline.com/common/oauth2/authorize?client_id=&response_type=code&redirect_uri=http://localhost&resource=https://graph.microsoft.com&prompt=consent

doesn't help me because my app doesn't have a redirect uri. The solution to granting the permissions is simpler than that: simply have the administrator login in to Azure AD and click the "Grant Permissions" link to grant the permissions.
Additionally, /myOrganization/driver/root/children lists the contents of the administrator's drive. As @PeterPan-MSFT noted, to list a different user's drive, replace /myOrganization with /users/<user-id>.
Success:
My application can now edit my Excel spreadsheets online, without the intervention of a human user. Contrary to what @PeterPan-MSFT stated, this is possible with Graph API and there is no need to download the Excel spreadsheet and edit offline.
Summary:
There were two problems: (1) using /me and (2) the application permissions had not been granted in Azure AD by the administrator.

A: Since client_credential token flow is being used (i.e., there is no authenticated user context), any request with /me is not valid as /me refers to current signed-in user. Please try with delegated token if you to access files in user's drive.
To access root drive in Sharepoint, request url is /drive/root/children (myorganization is optional).
With regards to missing claims, admin has to consent the app. You can force consent by asking the admin to access the below url (replace  with that of your app's)
https://login.microsoftonline.com/common/oauth2/authorize?client_id=&response_type=code&redirect_uri=http://localhost&resource=https://graph.microsoft.com&prompt=consent

A: As @juunas said, the first error information below should be the NULL exception in .NET which be caused at the server end, but also not an API bug or a permission issue.

error": {
    "code": "InternalServerError",
    "message": "Object reference not set to an instance of an object.",

You can refer to the SO thread to know this case which seems to update for backend, please try again later.
To explain for the second error when you changed the option me to myOrganization in the Graph API url, as @SriramDhanasekaran-MSFT, it's accessing files for the current user or a specified user with <user-id> instead of me.
However, based on my understanding, you want to edit an Excel spreadsheet lived in SharePoint for your orgnization, it seems to be not suitable via using Graph APIs. Per my experience, it should be done via using the APIs of OneDrive for Business to copy the Excel file to local to edit & upload to overwrite it, please refer to the dev documents for OneDrive and try to use the API for drive resource.
Hope it helps.

redpajama_set_name: RedPajamaStackExchange


text:
Starbucks and Tempe Meet After Barista Asked Cops to Leave
Investigation Clears Arcadia High School Coaches Accused of Racial Bias
Revenge Porn Ban Pushed by Arizona Legislators
Ksrisanga / Shutterstock
Elizabeth Stuart | January 19, 2016 | 2:41pm
The First Amendment crusaders who got a 2014 Arizona law banning revenge porn shut down aren't endorsing the Legislature's latest attempt to address the issue.
But Will Gona, policy director for the American Civil Liberties Union of Arizona, which sued the state over the law along with a coalition of booksellers, publishers, librarians, and photographers, said House Bill 2001 is a "significant improvement."
Both HB 2001 and its predecessor, Arizona Revised Statute 13-1425, make it a felony to intentionally display, distribute, or publish nude photos or videos of someone without their consent. However, the new proposal makes two important clarifications, Gona said.
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First, it specifies that the publisher or distributor must have malicious intent.
Second, he said, HB 2001 requires that the person photographed must have a "reasonable expectation of privacy."
"This is important," Gona said. "It protects a journalist, for example, for being prosecuted for publishing photos exposing how the U.S. military kept and tortured prisoners at Abu Ghraib [the prison in Iraq]."
HB 2001 also protects people's First Amendment right to record public events. People can no longer be prosecuted for sharing photos that already have been posted online by the subject.
In its lawsuit challenging ARS 13-1425, the ACLU argued that although the law was only intended to prevent people from harassing ex-lovers by posting steamy, privately shared photos online, it was written so broadly that it would also criminalize journalists for covering the news, booksellers from distributing historic images, and artists for publishing anthologies of their own work.
About half the states have enacted laws that criminalize the unauthorized distribution of sexually explicit images of another person, according to the National Conference of State Legislatures. Unlike ARS 13-1425, though, most require prosecutors to prove that the publisher intended to embarrass, harass, or frighten the subject.
A federal court permanently ordered Arizona to abandon enforcement of ARS 13-1425.
The law's author, state Representative J.D. Mesnard (R-Chandler), introduced a revised version in 2015. The House passed it on the last night of the legislative session. But, by that time, the Senate already had wrapped things up for the year so, like many other bills, it died.
This year, legislators, arguing that victims of revenge porn have no recourse, are making the revenge porn ban a priority. HB 2001 was the first bill to pass the House Wednesday and, if it makes it through the Senate, it may be the first to be written into law.
Despite the improvements, Gona said the ACLU is taking a "neutral" position on HB 2001.
"The big concern going forward will be the enforcement of the law," he said. "It will be important to see whether prosecutors are truly using this to go after people with malicious intent."
Mesnard did not respond to an interview request.
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Tulsi Gabbard Leaves Democratic Party Over 'Anti-White' Racism, Woke Activism
Former Hawaii Representative Tulsi Gabbard announced that she is leaving the Democratic Party over its authoritarianism and anti-white racism in a Tuesday video.
"I can no longer remain in today's Democratic Party that is now under the complete control of an elitist cabal of warmongers driven by cowardly wokeness, who divide us by racializing every issue and stoking anti-white racism, who actively work to undermine our God-given freedoms that are enshrined in our Constitution," says Gabbard in the first episode of her new YouTube channel, the Tulsi Gabbard Show.
I can no longer remain in today's Democratic Party that is now under the complete control of an elitist cabal of warmongers driven by cowardly wokeness, who divide us by racializing every issue & stoke anti-white racism, actively work to undermine our God-given freedoms, are… pic.twitter.com/oAuTnxZldf
— Tulsi Gabbard ? (@TulsiGabbard) October 11, 2022
"This party is led by warmongers who are firmly in the grips of the military industrial complex," Gabbard says. She charges that Democrats have led us to the brink of nuclear war, which is "the most urgent existential threat we face."
Gabbard, who ran for president as a Democrat in 2020, notes, "I didn't win that election, so I don't have the power to do what's necessary to prevent it."
"I'm calling on every one of you to stand up to these cowardly politicians," she declares, adding that this may be Americans' last chance to do so.
Today's Democratic Party has been "weaponizing the security state and federal law enforcement for their own partisan, political ends," Gabbard continues. In doing so, Democrats have undermined democracy and the rule of law.
She slammed them for advocating de-funding of the police and for enacting laws that prioritize criminals over ordinary Americans. "Is it any surprise that crime and murder rates are rapidly increasing?" she remarks.
Gabbard comments on the Department of Justice's recent arrest of 11 pro-life activists for blocking an abortion clinic entrance. "They didn't use physical force, they weren't dangerous," she says. But seven of these activists are facing 11 years in prison and fines up to $250,000 if they are convicted, she notes.
"The Biden [Department of Justice] and Department of Homeland Security are using their newly formed domestic terror unit to target parents who are vocally standing in opposition to radical curriculums and explicit sexual content being taught to their kids in schools," she adds.
Gabbard laments that President Biden campaigned on unity in the 2020 presidential elections, yet he recently gave a speech claiming his political opponents are domestic terrorists and extremists. "That's half the country," says Gabbard. She also notes that the Biden administration did nothing when protestors gathered outside the homes of Supreme Court justices following the leak of the Supreme Court's decision in Dobbs v. Jackson. While these protests were in clear violation of federal law, it's non-violent, pro-life activists who have been targeted by Biden's Department of Justice, she argues.
"When the party in power does not believe in the rule of law, but they're responsible for writing and enforcing laws, our democracy is doomed."
Nor do Democratic Party leaders believe in freedom of speech, religion, and the right to bear arms, Gabbard continues. "They try to censor speech they don't like, labeling it as misinformation and hate speech."
Democrats are "working hand-in-glove with corporate, for-profit media and Big Tech to smear and silence political opponents and anyone who dares to challenge their authority," she says.
Gabbard notes the Biden administration's recent attempt to create a "ministry of truth," which would control information Americans read and share online. Democrats' objective is to "determine what is misinformation, what is true and what is not," says Gabbard. "Their ideology is one of hate and divisiveness, rather than respect and love."
Today's Democrats are also hostile to people of faith, she adds. During the 2020 Democratic National Convention, Democrats chose to omit "under God" from the pledge of allegiance. "Freedom of religion does not mean freedom from religion."
Americans should be free to practice religion without fear of reprisal or punishment, Gabbard argues. "Any political party trying to erase presence of God in every facet of public life … cannot be trusted to protect our inalienable, God-given rights enshrined in the Constitution, and therefore should not be in power."
Moreover, "the Democratic Party's hatred of the Second Amendment and their increasing authoritarian instincts poses a serious threat to our freedoms."
She cites comments from Rep. Beto O'Rourke, D-Texas, who said, "hell yes, we'll take your AR-15 and your AK-47" in a 2020 presidential debate as one example of Democrats' hatred of the right to bear arms.
Today's Democrats are "Big Brother undermining our civil liberties," Gabbard argues. "Every time they've had the opportunity, they choose to side with the security state instead of siding with our liberty, our freedom." She notes Democrats' opposition to her bill in Congress which would have repealed the Patriot Act.
According to Gabbard, Democrats have betrayed Dr. Martin Luther King's dream that we are judged by the content of our character rather than the color of our skin. Democrats have used identity politics to divide Americans and propagate "anti-white" racism, she contends. "They have become the racists they claim to hate."
Gabbard also notes the Democratic party's erasure of women by rejecting biological reality and demanding that we replace words like "mother" with "birthing person."
America is putting women at risk "just to please biological men who claim to be women at any given moment," she warns.
Democrats are taking away opportunities from women in sports by allowing biological males to compete against them, she adds. "Behind the scenes … the Biden administration is trying to change Title IX by a back door rule that would remove women and biological sex from the Title IX statute."
"What they're really trying to do is force us to comply," she says. "They're trying to regulate our speech and thought with the threat of punishment. … By denying the biological differences of men and women, they're erasing women."
In doing so, Democrats are erasing objective truth. That's really the issue here, she argues: "When one denies existence of objective truth, then there are no boundaries, no limits in society. Truth becomes whatever those in power want it to be."
The post Tulsi Gabbard Leaves Democratic Party Over 'Anti-White' Racism, Woke Activism appeared first on The Daily Signal.
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Home/Toyota/New 2022 Toyota Prius Exterior Interior
New 2022 Toyota Prius Exterior Interior
What's New 2022 Toyota Prius Exterior Interior
2022 Toyota Prius Exterior Design
2022 Toyota Prius Interior Redesign
2022 Toyota Prius Infotainment
2022 Toyota Prius Hybrid Engine
2022 Toyota Prius Features
2022 Toyota Prius Price Release
New 2022 Toyota Prius Exterior Interior – The Toyota Prius came up with a complete redesign in 2016, when it came with the most iconic hybrid technology of all time. The Toyota Prius has been a good car for a long time, at which point the Toyota Prius was one of the cleanest vehicles sold in the United States, based on smog-forming emissions. Since its first introduction, Toyota brand electrification vehicles have sold more than 2,600 units.
Currently, some rumors that Toyota will revive the latest generation of the New 2022 Toyota Prius with new design and technology, we hope the Toyota Prius 2022 becomes everyone's dream car. and we hope that with the presence of the latest generation of Toyota Prius 2022 the dynamics of the electrification vehicle market will be higher so that the goal for the acceleration of electrification vehicles can be achieved.
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Read More: New 2022 Toyota Prius Redesign
Toyota Prius remains largely not much change for 2022, be it features, technology or interior exterior design, all look the same, only a few small parts that clearly look different, the latest generation Toyota Prius still comes with pedestrian and cyclist detection features are now standard on the 2022 model, as well as automatic headlights. Android Auto is also added to all trim levels except for unlimited top tiers.
Toyota has always made excellent changes in every generation issued, Featured in aggressive and emotional design, the 2022 Toyota Prius is built using the TNGA platform. Not only makes the exterior design more attractive, but the use of the TNGA platform makes the design of this car also more secure and stable. The lighting system in the front sector already carries a Quar-LED Projector that can be accessed through auto features as well as LED Daytime Running Light, the main light design is packaged tapered and squinted, then combined with a vertical fog lamp model that gives an elegant impression.
As for the bumper, business is made wide, with the curve of the hood down to provide good aerodynamic power. this visual adds to the aggressive aura of the 2022 Toyota Prius. On the side, Toyota apparently emphasizes the impression of elegance so that there are not many firm curves, especially from the first to second-row doors. To support the look, the 15-inch rim is embedded with a two-tone profile.
While on the back, the body is made attractive, especially in the stop lamp design that stretches long from left to right, as well as a wide rear glass design and engulfed with a dual-wave concept. While the bumper is packed resembles the front view with vertical model lights.
Read More: 2022 Toyota 4Runner Concept Redesign
Not only does it make its exterior design even more attractive. Entering the cabin, the modern feel is immediately highlighted from the various panels and screens that have been installed on the dashboard area. We are happy with the Interior Toyota Prius that exists now, we are pleased to see the all-new Toyota Prius 2022 design with a more luxurious interior design. The steering handle with a black and white bandage is integrated with various function buttons on the left and right, while on the lower right there is a button to activate the cruise control feature.
Riders can also see a variety of information through the MID screen in the center of the dashboard, such as fuel capacity, driving mode options, battery capacity, real-time driving efficiency indicators as your footsteps on the accelerator. The 2022 Toyota Prius has extensive interior design and excellent luggage storage, although this is not the most spacious vehicle in this competitive set. Dashboard-mounted shifters free up space for storage space in the front seat area.
2022 Toyota Prius Interior
Toyota Prius 2022 cabin has an attractive design and prioritizes quality materials. With several plastic surfaces protruding throughout the cabin, interior materials are not of high quality as you would find in some other Toyotas, such as the Camry Hybrid.
The cabin can seat five people, but the sloping roofline cuts through the headroom at the back, so we'd recommend it for two or a young family of four. It's just that because of the shape of the roof that hits, for adult passengers it will feel cramped at the top.
Today, the Toyota Prius comes with a 7-inch touchscreen, Android Auto, Apple CarPlay, Wi-Fi hot spots, three USB ports, six audio speakers, Amazon Alexa, and Bluetooth as standard. The higher trim level comes with an 11.6-inch touchscreen, JBL audio system, navigation, and satellite radio. These features should not change for the 2022 model year. we hope the New Toyota Prius 2022 has a spacious interior and equipped with audio display entertainment with a larger 8-inch screen.
The Prius 2022 is expected to have the same powertrain as the current model. That means power will come from a 1.8-liter four-cylinder engine, an electric motor, and a 1.3 kWh battery pack. The combined output is rated at 121 horsepower. The Prius comes with a continuous variable transmission (CVT). Front-wheel drive is standard, while all-wheel drive is available.
New 2022 Toyota Prius still relies on two power, namely electric and engine. For electric, the front is supported by a permanent magnet synchronous motor, which is claimed to be capable of producing power of 53 kW and torque of 163 Nm. where at close range can use a full-electric mode like BEV and at the time of long-distance driving the system will automatically use a Hybrid system that is also fuel-efficient, low emission, and fun to drive. For battery charging, there are two modes, namely 200v electric with only 2 hours 20 minutes until fully charged, or quick charging 20 minutes until the battery touches 80 percent. For charging is done using a type 2 connector.
One of the advantages of the Toyota Prius is the greater battery capability and battery charging model through external sources. The flexibility of this car has also been tested because it has a long driving range. The latest generation 2022 Toyota Prius Redesign is also equipped with the Star Safety System Toyota Safety Sense feature, which is a technology that collaborates with Vehicle Stability Control (VSC), Traction Control (TRAC), Anti-lock Brake System (ABS), Electronic Brakeforce Distribution (EBD), and Brake Assist (BA), which is claimed to be able to provide the best braking and maximum stability.
For cruise control also has an adaptive feature that can keep up with the speed of the car in front when on the highway. When the front car slows down, the sensor automatically reads and slows the vehicle down until it stops perfectly.
Toyota has not provided any information about the release date of its latest generation Prius 2022. We expect to see the latest Prius models by summer 2021. The price of the Toyota Prius 2022 is also still unclear. Without the expected changes, we expect the upcoming model to remain close to the Toyota Prius current range. Currently, the Prius ranges from $25,520 to $33,645 with a goal. Of course, the price of ni will still change if at the launch there will be many changes both in terms of exterior design, interior, or performance. This latest generation Toyota Prius car will compete with Honda Insight, Toyota Corolla Hybrid, and Hyundai Ioniq Hybrid.
Toyota Hilux GR 2023: What We Know So Far


Moody's has acquired a majority stake in Vigeo Eiris, a global leader in environmental, social and governance (ESG) assessments.
Moody's said this acquisition will further its objective of promoting global standards for ESG use by market participants.
Vigeo Eiris boasts products and capabilities based on ESG assessments and an extensive ESG database as well as specialised research and decision-making tools for sustainable and ethical investments.
Moody's said the acquisition is recognition that ESG considerations are increasingly relevant to issuers, investors, counterparties and others and that stakeholders are seeking clear and objective standards for measuring ESG.
The firm added that it has an ongoing commitment to enhancing transparency and creating standards in ESG.
Moody's global head of assessments Myriam Durand said: "Vigeo Eiris has been a pioneer in bringing greater transparency and awareness of ESG and sustainability issues to market participants and has continued to innovate and expand as demand for this information has grown."
"Moody's acquisition of a majority stake in Vigeo Eiris will contribute to the further development of leading ESG risk assessments, enabling the market to benefit from a global standard in assessing ESG considerations as part of their investment decisions."
Vigeo Eiris president Nicole Notat said: "This acquisition reinforces the importance of ESG assessments to market participants. We look forward to working with Moody's to offer customers access to a broad range of comprehensive sustainability risk assessments, research and data."
The terms of the acquisition were not disclosed. However, Moody's says the transaction will not have an impact on its financial results.


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In Morocco Places to visit
Tags: Culture, Morocco
Ouarzazate-Zagora-Tinerhir
Cinema decor
Before your feet carry you beyond the gates of the Great South, on your way you will find the city of Ouarzazate, which is one of the main stops on your journey to the Sahara Desert. They stopped there and discovered the ancient treasures of a city that was still developing and growing until it became the heart of cinematic filmmakers and photographers.
The starting point for the Sahara Desert
Ouarzazate was founded in 1928, and is considered the starting point for excursions and tours heading towards the southern Sahara desert. However, this city, which until recently was just a stopover, has become with the passage of time a tourist destination in its own right. The Kasbah Taourirt, which was recently restored, attests to that transformation. The dark red earthy buildings that make up the features of the Kasbah have been classified as a global human heritage by UNESCO, and while you are there, look at a wonderful creation of that alabaster paint and those colored ceilings made of cedar wood with those two rooms that still preserve the splendor of the Casbah.
Silence, the camera is shooting
Since 1984, Ouarzazate has become closely linked to cinema and its industry, and thus the climatic conditions, geographical scenes and the optimal economic conditions prevailing in this region have made a large number of international studios to be considered as their home and location for filming movies. Today, you can visit the decorations for huge famous films such as Lawrence of Arabia, Asterix, Obelix (Cleopatra's Mission), Tea in the Desert, and also Gladiator (Gladiator).
One cannot leave Ouarzazate while he has not yet visited the Kasbah of Tivoltout and Ksar Ait Benhadou. These two milestones of prevailing traditional engineering are but a precursor to what awaits you on the famous Alif Road. The aforementioned astonishing palace, which in turn has been classified among the eternal global human heritage by UNESCO, has a breathtaking panoramic view of the Palm Oasis, the desert rocky highlands and the Atlas Mountains.
Ouarrazat, then, is a tourist destination in its own right. It continues to flourish to welcome you in its arms, ensuring a stay for you, during which you can enjoy the atmosphere of cinematic art and the cultural heritage: it is a resting and providing station.
Treasures Road
Starting from Ouarzazate, all roads lead you to the wonders of southern Morocco. So live adventurous life and get to know people whose originality runs and exudes an authentic culture.
A Thousand Kasbah Road
On your way from Ouarzazate to Pullman, you will see the Dades Valley with its dry climate, known as the "Thousand Kasbah Road". And this valley extends to no end, and in its reefs stand up stalactites and unique fortified villages, as long as the walking paths guide its singing paths. Sometimes you will have to deviate from the pathways to discover the traditional Berber dwellings of mud like those in Tidegest or Tiflet. After that, you will receive whatever rest and refreshment you want in the Palm Oasis in Skoura (3.7.1). And as soon as you pass Tengir, you will find yourselves in the depths of the magnificent Todgha gorges, which get narrower as you penetrate the folds of its rocky walls that are in the sky (at a height of more than 300 meters!), And there you will find a path that takes you to Pullman through the gorges and gorges of the Dades Highlands, where you live You will enjoy the sight of the rocks as they glow in the daylight, igniting joyful colors pink, red, orange or purple. And to the south of Pullman, you will start the journey to Mount Sagro, and there in the Valley of the Birds see and contemplate a wild colony housing 150 species of birds, and by the mountain pass "Tizi Ntazazit", you will see from its perch some imaginary scenes that you never thought of.
Valleys of Rod
If you continue walking, tracing the trail of the Dades Valley as it crosses you through the country of roses, "Castle Makouneh", this country in which roses grace the human being with its water that is fragrant with its fragrance, precious extracted rose water that gives the skin a look and tenderness. It is no wonder, then, that the entire region celebrated this rose in May of every year for three consecutive days. If you go far, you will be met by gorges in Dades, and then in Todgha and their slopes, which have a height of rock walls depending on the regions to a height of 300 meters.
To the south, Al Wahat Road
When you head towards the south, you will enter the Draa Valley, which extends over an area of about 200 km and is irrigated with its water a narrow oasis in which fruit trees and henna grow. Tsargat Palace, one of the palaces bordering the valley, houses the Museum of Arts and Traditions. It is a museum that displays many of the daily tools and traditional Amazigh industries.
At the gates of the desert
When your trip reaches M'hamid Al-Ghozlan, you will have reached the first stop of the desert tourism trips. And in Tenfu, the sand dunes standing there will give you a wonderful view of what you can see in the desert. However, you have to continue walking and continue to advance towards the west of the Mahamid, in order to fully enter the desert. You will not reach it until after you reach the Shikaka dunes, which are located as far as the eye can see at a distance of 40 km, some of which may reach a height of more than 150 meters.
Kasbahs, oases and Sohar … the components of the great Moroccan Saharan south are all here combined.
source: Office National Marocain du Tourisme
04:11 – DIM-06-SEPT –2020


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Apple earned $90.15B in fourth quarter of 2022
Malcolm Owen | Oct 27, 2022
Apple CEO Tim Cook
Apple earned $90.15 billion in revenue for the fourth fiscal quarter of 2022, according to results released on Thursday.
Published on Thursday ahead of its quarterly conference call with investors and analysts, Apple's achieved $90.15B in revenue. The quarter for the three-month period ending in September also reported earnings per share of $1.29.
Revenue derived from the iPhone hit $42.6 billion for the quarter. The iPad revenue reached $7.17 billion. Mac revenue is $11.5B.
The ever-dependable Services saw continued growth to $19.18 billion in revenue. Wearables, Home, and Accessories was reported at $9.65 billion.
Launches that would've had an effect on the quarter include the M2 MacBook Pro and M2 MacBook Air from June and July respectively.
While Apple did launch a number of popular models, including the iPhone 14 range, the Apple Watch Series 8, the second-generation Apple Watch SE, and Apple Watch Ultra, they all appeared in late September, too late to make a massive impact on the quarter's results. They will, however, heavily dictate the fortunes of Apple in the Q1 2023 results, which typically benefits from seasonal holiday sales.
"This quarter's results reflect Apple's commitment to our customers, to the pursuit of innovation, and to leaving the world better than we found it," said CEO Tim Cook in comments accompanying the results. "As we head into the holiday season with our most powerful lineup ever, we are leading with our values in every action we take and every decision we make. We are deeply committed to protecting the environment, to securing user privacy, to strengthening accessibility, and to creating products and services that can unlock humanity's full creative potential."
CFO Luca Maestri said the record September results "continue to demonstrate our ability to execute effectively in spite of a challenging and volatile macroeconomic backdrop."
Apple also issued details of its full-year results, with annual revenue of $394.3 billion up 8% year-on-year and with an annual earnings per diluted share of $6.11, up 9%.
eightzero
That's a metric fucktone of money.
That should drive the share price down. Wall Street's short-selling "Apple is doomed" crowd hate success.
canukstorm
That YoY Mac growth is incredible.
snowweasel
It really is absurd, isn't it? Record quarter? Growth in China when everyone else is struggling? Apple is doomed! 😂🤷♂
Likely welcomed with open arms by AAPL and their plans for share buybacks.
Cowen forecasts 'soft' iPhone impacting Apple's Q1 2023 financials
Apple's holiday quarter results will be lower than 2021, according to Cowen, with "softness" expected due to iPhone shipments impacted by Chinese lockdowns.
Samsung's terrible quarter delivered lowest profit in 8 years
Long-time Apple rival Samsung had an incredibly bad fourth quarter, with the global economic downturn blamed for a 69% drop in quarterly operating profit.
What to expect from Apple's 2022 holiday quarter earnings report
Apple will be announcing its 2023 fiscal first quarter results on Thursday evening. Here's what to expect from the holiday quarter earnings — and what Wall Street is predicting.


Tesla is positioning its upcoming Model 3 as an electric rival to BMW's vaunted 3 Series. BMW will fight back, but can it find an advantage against Tesla's tech?
Tesla's upcoming Model 3 is being positioned as a BMW 3-Series rival. It's a safe bet that BMW won't let it go unchallenged. Image source: Tesla Motors.
Investors in Tesla Motors (NASDAQ:TSLA) are excited about the prospects for the company's upcoming Model 3 sedan, and with good reason: With over 400,000 deposits in the bank, the question isn't whether the new model will sell well -- it's how quickly Tesla can produce enough to meet the huge demand.
Much of the appeal of the Model 3 is wrapped up in the upscale cool that comes with the Tesla nameplate: It's seen widely as a futuristic all-electric rival to BMW's (NASDAQOTH:BAMXF) 3 Series, long the industry benchmark for a fun-to-drive small premium sedan.
If Tesla can get production of the Model 3 up and running at full speed anywhere close to its (very ambitious) projected timeline, the baby Tesla could put a big dent in the sales totals for BMW's benchmark model.
That prospect has to be keeping BMW product planners up at night -- and their plan to respond probably won't surprise you.
Officially, BMW hasn't said a whole lot about its future electric-car plans. But we know it's working on an all-new version of the 3 Series that will arrive in 2018 -- and a recent report suggests that an all-electric version is in the plan.
Britain's Auto Express magazine is reporting that BMW is working on a battery-electric variant of the upcoming new 3 Series. According to the report, the electric 3 Series will have a 90-kilowatt-hour battery pack. That should give the 3-Series EV a range comparable to the top-of-the-line Teslas -- possibly as much as 300 miles, depending on the BMW's weight.
By 2020, Tesla should have Model 3 production up to full speed, with at least a few hundred thousand cars in owners' hands. Will the BMW stand a chance?
Tesla is known for its advanced technology, and BMW may not quite be able to match the best connected-car tech from Silicon Valley by 2020. It's a safe bet that on paper at least, the electric 3 Series will compare fairly well with the Model 3, but it might be lacking some advanced features. That said, the BMW could well have a real-world advantage over the Tesla when it comes to driving dynamics, thanks to BMW's handling expertise -- and to the lightweight architecture of its upcoming 3 Series.
The new 3 Series will be based on BMW's "CLAR" architecture. CLAR (Cluster Architecture) is modular, meaning that it can be used as the basis for vehicles of varying sizes, and it's expected to eventually underpin most or all rear-wheel-drive BMW models. All should benefit from the architecture's attention to weight: CLAR uses a mixture of high-strength steel, aluminum, and carbon fiber to reduce weight while increasing structural rigidity.
Reducing weight has become a critical priority in the non-electric-vehicle world. With internal-combustion engines, lighter weight means better fuel efficiency, all other things being equal. But that's not the only advantage: that increased structural rigidity will translate into better handling, and handling is a critical part of what makes a BMW a BMW.
The mixed-material approach that BMW is using with CLAR is similar to what General Motors (NYSE:GM) did with its new Cadillac CT6, a car that has been praised for its light weight and surprisingly (for a big Caddy, at least) sporty handling.
From a car-enthusiast perspective, at least, the key downside of battery-electric technology is that battery-electric cars are heavy. A Tesla Model S P90D weighs 4,842 pounds, according to Car and Driver. That's roughly 700 pounds more than a Cadillac CTS-V, and while electric torque helps the Tesla edge out the Caddy in a drag race, the Cadillac feels much nimbler in the corners.
Plenty of questions remain, of course, starting with this one: If BMW does build an electric 3 Series, will it be intended for mass production, or just a limited-volume offering? Or put another way, will BMW be able to get enough batteries in the near term to give Tesla a serious sales challenge?
That's far from clear right now. It's a safe bet than any all-electric 3 Series will deliver on BMW's brand promise, with exciting performance (and not just in a straight line) combined with a well-thought-out premium interior and a high level of fit and finish.
But no matter its performance (or fit and finish), whether the electric BMW 3 Series can really challenge the Tesla Model 3 may come down to two questions: What will it cost, and how many can BMW make?


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House Of Worship, Installations
Summit Church: Balancing The Broadcast And The In-Venue Experience
Anthony Vargas March 2, 2020, 12:50 pm July 28, 2021
CSD Group designed the Summit Church's Capital Hills campus with the needs of both audiences in mind.
The Capital Hills broadcast campus was a new construction. The fan-shaped auditorium seats about 1,600. (Photo courtesy David Johnson, CSD Group)
Designing AVL systems for a broadcast campus that streams audio and video to multiple other campuses can be a tricky balancing act. The integrator must make sure to create the best possible worship experience for the broadcast campus itself, while also prioritizing how the content streamed to the other campuses will look onscreen. Both of these concerns have to be front of mind in order to ensure that all the client's needs are met.
A recent AVL installation completed by CSD Group at the Summit Church's brand-new Capital Hills Campus in Raleigh NC offers a fine example of how to balance these two major priorities. The CSD team was tasked with designing systems for Summit's freshly built broadcast campus that could be used to capture and stream compelling worship content for eight additional locations. (The Summit Church avoids using the term "satellite campuses.") At the same time, worshippers in the room had to have an engaging experience, as well.
The Capital Hills broadcast campus seats 1,600 in a fan-shaped arrangement with a slight rise to the rear wall. The room is oriented toward the main stage, which features three LED walls: one in the center that serves as a backdrop for the speakers and musicians, and two on either side for image-magnification (IMAG) purposes. The building was a new construction designed by architectural firm LS3P.
According to the Summit Church's Production Pastor, Justin Manny, the opportunity to build the new Capital Hills broadcast campus from square one gave the church the opportunity to build on what it had done in the past on the broadcast end of things, while also removing some of the complexities that arose from patchwork fixes over time. The church also wanted to take its in-venue experience to a new level—specifically in the audio department.
"We were excited to build a broadcast system from the ground up, intentionally," Manny shared. "Our previous broadcast location was built up over time, and things were added to the system at various points. This led to challenges, like camera-sensor difference, and a general complexity that comes with adding a thing here and another thing there. With Capital Hills, we were able to take a look at our workflow and design a system that functions how we need from the ground up." Manny highlighted some specific areas where the church wanted to take the next step forward with its in-venue production, as well as some areas where it wanted to keep things tried and true. "We are not a production-heavy church," he shared. "Our goal is to create depth, saturation and texture with lighting. The main place where I felt we could push the envelope a little was in sound. We wanted full and high-quality sound that has even coverage and [offers] a consistent experience from the front to the back. Our expectation for the systems was that they allow the Gospel to reach people, not take And, obviously, balancing excellence and artistry with practical needs has been our focus from the beginning and all the way through the process."
A view of the front-of-house mixing location, which also serves as a camera position for two of the camera operators. (Photo courtesy David Johnson, CSD Group)
That balancing act had the potential to create some challenges, but the CSD team was equal to the task. The project was led by CSD Principal Consultant David McCauley, who gave Sound & Communications an extensive breakdown of the installation. He began by describing the overarching aims of the system design, much of which involved balancing the church's in-venue needs with its broadcast needs.
"They wanted a good concert-level audio system; that was the first call," McCauley explained. "And then a good system for IMAG support…image-magnification support. But then, [the church wanted] a good place to do messaging onstage, as well. So, those were two different aspects [to consider]. We talked about LED screens. Lighting was a different thing because, during worship and music parts, they wanted the lighting to be more concert-like, more immersive [and] more saturated, color-wise. But then, it's also a broadcast church, so they also needed it to be broadcast-level lighting and coverage for when a speaker came out onstage [so that] it was lit completely and evenly for broadcast. In the lighting world, that's two different types of setups. And then they had a nice separate control space for video production, [as well as] a separate control space for audio mix-down."
McCauley completed his summary by stating the project's main goal, which was apparent from its earliest stages: "One of the big things going into this was that they were really trying to make sure that the room made a nice, engaging experience for the people who were in the space but also had everything that it needed to be able to drive to the other campuses."
Services at the Capital Hills campus are typical of broadcast churches in the multi-site-church milieu. "Generally, we start the service with worship/scripture. We run through a relatively diverse catalog of songs that fit the diverse population of our church. Lighting and video elements help to create an environment conducive to worship," Manny described. "Most services then include a time of prayer led by the campus staff. The sermon is broadcast from Capital Hills to the other eight campuses on the weekend—generally a 45-minute message, give or take. Most weekends we respond in worship following the sermon and end the service with offering and announcements." In addition to the teaching segment being streamed to the other campuses, some services at Capital Hills are also recorded and made available for online streaming.
A 70-inch display on a wheeled cart is rolled out for the message portion of the service. Since the integrator wanted to avoid having the LED screens on camera, this display is used to show visual aids in the tight shot that is streamed to the other campuses. (Photo courtesy David Johnson, CSD Group)
Since music and spoken word are the essential elements of the in-venue worship experience, audio was the main priority for that side of the project. After much consideration, CSD specified a d&b Soundscape-based system.
At first, CSD considered a line-array system. "One of the mandates of the church was they didn't want to feel like how sometimes when you go into a facility, the PA's massive and you feel like you're going to get punched in the face by this big speaker array that's hanging in front of you," McCauley shared. "We looked at arrays, and we looked at a couple different ways of doing them and keeping them up pretty high, because the ceiling was a little bit lower than we may have liked, if we were going to do arrays. We were really searching for a good method to make this happen, but also get the SPL they wanted and the feel they wanted." He added, "We had looked at exploded-cluster stuff as well. Sightline-wise, that would have been great. But most of the time, an exploded cluster is mono, and if you do any kind of shading in between, that's usually not good. So, we kept on going back to the arrays, like a nice stereo array with out-fills."
However, McCauley already had some hands-on experience with the Soundscape system, and his appreciation for its positional-audio capabilities led him to suggest it as an option. "At the time, I had been working with d&b a little bit on their new Soundscape stuff. And I'm an old theater guy, so I'm used to more surround and locational-audio-type setups," McCauley said. "So, we did some demos with the church, and I let them experience the arrays that we were thinking about. And they loved them. And then we did a setup with the Soundscape to show them what that does, because I'm a big proponent of positional audio. And once they experienced that, they were like, 'Oh, that's what we want.'" He continued, "So, that led us into, 'OK. Well, how much is that going to cost?' And when we did the math, because we're using point-source speakers, delays and surrounds, we were actually able to come in pretty cost-effectively. I mean, it was a little bit more than the other system, but it was very comparable, much to our surprise and giddiness."
The system uses a total of 44 d&b speakers: 12 24S-D, two 12S-D, two 12S, two 10SD, 24 8S and two 5S. "The mains are 24Ses. And then we have a delay ring of 24Ses. So, there's five 24Ses up front and seven delay-ring 24Ses covering the back half of the room," McCauley described. "Then, for surround speakers, the ones on either side of the stage are 12Ses. And then the next ones out are 10Ses. The rest of the surrounds around the room are 8Ses. And those two 5Ses are outer front fills that needed to be a little bit smaller." He added, "Design and deployment are so key to this type system working well. If you don't know how high to put the speaker, how to space them correctly and how to drive them correctly, the result can be not great. I think we got the placement right so that it doesn't blow people out too bad when they're close to the speakers, but the sound still reaches into the room deep enough that everybody gets to experience the immersion."
A mix of d&b J-SUBs and B6es handles the low end. "We have four B6es on the floor in a specially designed [part of the stage]. And then we have three J-SUBs in the air, dead center," McCauley said. "With wide rooms, you want to make sure that you don't collapse the pattern of your bass. And I'm not a big fan of separating bass, especially flown, because then you get a whole lot of interaction, comb filtering and stuff." He added, "This is not a crushing bass component. They wanted it to be musical, but they want to be able to feel it. And that's pretty much what they have. I wouldn't call it bass-heavy. I would just call it appropriate."
A separate room is dedicated to video production. This is where the in-venue and broadcast video feeds are produced. (Photo courtesy David Johnson, CSD Group)
The entire audio system is driven by a d&b DS100 processing platform for Soundscape. A Yamaha RIVAGE PM7 is used for the in-house mix, and a Yamaha CL5 is used for the broadcast mix. The mains and subwoofers are powered by five d&b 30D amps, and eight d&b 10D amps power the surrounds. "Everything is driven on Dante," McCauley said. "There are four d&b DS10 audio network bridges that break out the Dante to AES, so every amp is fed AES, and the signal never comes out of digital. Basically, the signal flow would be Dante out of the console to the DS100 processor, then from the DS100 back into Dante out to the DS10s, and then from the DS10s to the amplifiers running AES. The interesting thing is, every speaker has its own amplifier channel, so [all of them are] direct-driven separately. There wasn't anything parallel in this system."
According to McCauley, this is the first Soundscape 360 system installed in a church. The Soundscape system can be configured in either a 180 setup, meaning a crowd-facing speaker setup oriented around a proscenium stage, or a 360 setup, which includes surround speakers throughout the room in addition to the stage setup.
"The 180 part of it is basically locational to the stage," McCauley described. "So, let's say you have five speakers across the stage. Every microphone on that stage has a corresponding placement, [which is represented by] a little circle on a computer screen. You can position on your screen approximately where the microphone is on the actual stage. And then the speakers are time delayed to that particular microphone, for volume and position. It is timed so that you think that you're actually hearing the sound from the stage, not from the PA. It's really awesome because, positionally, everything makes sense to your brain."
He continued, "In a 360 system with the surrounds, you can emulate different rooms. So, you can make the room sound like a cathedral, or you can make it sound like a pretty tight nightclub, or whatever you want to do. In Soundscape, the cool thing is [that] I can have somebody playing a violin and have it edged down like they're in a cathedral. But then somebody could start speaking onstage, and [you can have him sound like he's] not in the cathedral, even though the violin, at the same time, sounds like it's in a cathedral." Within the DS100 processor, Enscene software is used for the positional aspect of the design, whereas Enspace software is used for the room emulation.
Microphones used onstage include Shure ULXD transmitters equipped with KSM9 capsules. The band uses Shure PSM1000 personal in-ear monitoring systems.
As is typical of houses of worship, the AVL systems are run by a team of volunteers led by a small number of dedicated staff. (Photo courtesy David Johnson, CSD Group)
On the video side of things, the choice of LED screens and their placement on the back wall of the stage were major considerations. There are three videowalls: two on either side of the stage that are used for IMAG, and a central screen that serves as a backdrop for the stage and that is used to display graphics. The screens are made up of Vanguard P4 Rhodium LED panels with four-millimeter pixel pitch. Each side screen measures 21'x7.1′ and is composed of 100 panels. The center screen measures 21'x11.8′ and is composed of 120 panels. "LED was the only real option for a seamless look and to be able to be bright enough to compete with the broadcast lighting," McCauley said.
According to McCauley, making sure that LEDs look good on camera is a tricky proposition. So, CSD decided that the best approach for the broadcast side of the equation was to ensure that the LED screens would not be visible in the tight shots that are captured during the teaching portion of service and streamed to the other campuses.
"At one point, we did talk about going with something that would be on camera, and we would have [gone] for a lot tighter of a pitch—probably 2.5-mil or something like that. But we just decided to keep everything off camera for the tight shots," McCauley said.
Regarding the difficulties entailed in using LED as a backdrop for filming, McCauley explained, "The problem with LED at the moment is, man, it's the Wild West. I mean, everybody's coming out with them. And if it's just people looking at it, that's one thing. That could be good or bad, depending on what brand you buy. But, as soon as that LED gets onscreen or on camera in any way, shape or form, you better do your homework is all I can say." He emphasized that, when it comes to avoiding the moiré effect, so much depends on the camera, the lens and the distance from the talent to the wall itself, as well as ensuring that the wall has the proper electronics and pixel spacing. "There are so many things that people get into trouble with," he lamented.
McCauley continued, "I work with some major players on this stuff, and [they tell me] this: 'You've got to train your camera operators because if they hard focus the wrong way or if they slip on focus, you're going to get moiré almost no matter what.' And that's with really, really, really nice cameras. It's just one of those things that I don't think people really understand. There's so much bad information out there. And, of course, everybody's trying to sell their product and everybody says, 'Oh, I'm the best. I don't have moiré.' I hear that all the time."
Instead of showing the back-wall LED screen in the streaming camera shot, during teaching segments a technician will roll out a 70-inch Samsung display on a wheeled cart, and that display is used to show on-camera visual aids for the streamed message.
The video production team uses a Ross Carbonite Black Plus 2 M/E live production switcher to produce two different video feeds: one for in-house IMAG, and one for streaming. Content is fed to the LED screens using NovaStar processing. The camera operators have four Sony HXC FB80HN studio cameras at their disposal, and three Marshall CV502 mini cameras are placed around the stage to capture shots of the musicians. Two Blackmagic HyperDeck Studio Pro 2s and six Blackmagic HyperDeck Studio 2s are used for recording purposes.
The full-color lighting extends out into the audience. The audience is immersed in the same color of light as the performers onstage, which creates a more intimate connection between the musicians and the worshippers. (Photo courtesy David Johnson, CSD Group)
Another major concern for this installation was ensuring that the lighting was conducive to the in-house worship experience, while also meeting broadcast-video needs. This proved to be one of the more involved balancing acts on the project. "The interesting thing about this particular space is that it needed dual-purpose lighting, to a certain extent," McCauley shared. "It needed to have that that very saturated, concert-y kind of look with just a touch of face light—just enough to make sure you knew what they look like—but the rest of it was solid color. They don't do a whole lot of moving lights, but they wanted the ability to do just a touch of it."
Highly saturated, full-color lighting was crucial to the feel the Summit Church wanted to cultivate during the musical part of service. "They wanted really deep saturation of color," McCauley said. "For the contemporary worship side, it is very important to be able to be immersive and have that saturation. So, it was very important that the house lights be full color. What that does is basically extend the stage lights out over into the audience, so the audience feels like they're more in the moment, like they're a part of it, versus, 'Oh, well, the band is saturated. We're not.' When the lighting extends over, they're like, 'Oh, wow, we're in this with them!' So, it's a cool effect." He continued, "But then the lighting had to go from that to a broadcast look, where every position could be fully lit with at least five lights hitting it and then an up-fill, or you could just do it with a center key light and all saturated color with an up-fill kicker."
McCauley elaborated on the importance of uplighting to achieve the desired broadcast feel. "One thing that we were able to do architecturally is build in a lighting trough on the front edge of the stage. So, we were able to build in uplights, but they're kind of hidden from the audience. That allows you to have your face light a little closer and a little higher without making people look dead, or like raccoons," he joked. "And it gives a nice, more even wash, because it fills in the gaps between the crossovers of [the other lights], and it helps it to look more clean as somebody walks across the stage." Making sure the uplighting provides just the right touch is its own balancing act. "Uplight used wrong is very annoying and very distracting," McCauley warned. "If you have your uplights too strong, what you get is shadows going the opposite direction that nature intended. So, you move your hand and there's a shadow cast up on your face. That freaks people out. The up-fill is important to a certain extent, but the key is always that your face light is dominant. Your up-light just fills in enough that your shadows are still going down."
The lighting system includes 46 Chauvet Professional fixtures and 35 Elation LED bars. It is controlled via a GrandMA dot2 lighting console and two Chauvet Professional Net-XII Ethernet-to-DMX nodes that are used to trigger DMX presets.
The AVL system is largely run by volunteers. "I highly value volunteers, giving them the ability to serve the church in that way," Manny said. "Not everyone is good at hanging with kids, and not everyone wants to smile at every person that comes in. I feel like production in the church is a great way for many people to use their skill sets and serve the body of Christ. So, we have three staff: one who runs sound, one who directs broadcast and one who leads the volunteers team. Other than that, it's all volunteers. They run lights, cameras, switcher and lyrics. Some people come from production backgrounds, some are brand new." CSD worked with its manufacturer partners to train the Summit team on the new systems.
All told, the project was a success, and it has resulted in an ongoing working relationship between CSD and the Summit Church. "We are really excited as we move into future projects to continue to work with CSD," Manny concluded.
CSD Group Personnel
• David McCauley, Principal – Consultant/Designer
• Marty Jones, Project Manager and System Designer
• James Butler, Engineer
• Cory Hall, Sales Engineer
• Jeff Hedback, Acoustician
• Josh Buendorf, Lead Installer
• Daryl Wicker, Installer
• Scott Boroff, Installer
• Dylan Tatman, Installer
• Cody Vaught, Prebuild
• Jacob Schmell, Purchasing
• Cooper Hood, Purchasing
• Adam Henderson, Scheduling and Logistics
• Jake Drown, Integration Manager
• David Johnson, CSD Marketing and Photos
• Kim Hood, Accounting
• Cady Johnson, Accounting
• Doug Hood, Owner of CSD
The electrical contractor on the project was Triangle Electrical Service.
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Finger now pointing at CIA, not Bush, Republican Party.
The Angry American | August 21, 2007 | General News | No Comments
New CIA documents de-classified.
By KATHERINE SHRADER, Associated Press Writer 1 hour, 42 minutes agoWASHINGTON – The CIA's top leaders failed to use their available powers, never developed a comprehensive plan to stop al-Qaida and missed crucial opportunities to thwart two hijackers in the run-up to Sept. 11, the agency's own watchdog concluded in a bruising report released Tuesday.
Completed in June 2005 and kept classified until now, the 19-page executive summary finds extensive fault with the actions of senior CIA leaders and others beneath them. "The agency and its officers did not discharge their responsibilities in a satisfactory manner," the CIA inspector general found.
"They did not always work effectively and cooperatively," the report stated.
Looks like a bunch of stuff is about to be on the faces of many finger pointers. So much for the Democrat's " Oil War" they claimed Bush engaged in. Obviously as The Whitehouse has maintained all along, they went on the intelligence they were given, not intelligence they created. It'll be interesting to see how this unravels.
But wait…..IT GETS BETTER.
In a statement, CIA Director Michael Hayden said the decision to release the report was not his choice or preference, but that he was making the report available as required by Congress in a law President Bush signed earlier this month.
You don't say…. somebody other than the defunct Democrat controlled congress actually signed a law into action that actually revealed some of what the hell is actually going on? You mean we finally have some truth?
In other words for the deaf dumb and blind, Bush actually forced the hand of the CIA against the director's wishes. Obviously the director was not a fan of working WITH the president and has been acting without pressure from the Whitehouse to "produce" a phony war as the Democrats have alleged.
In a statement, Tenet said the inspector general is "flat wrong" about the lack of plan.
"There was in fact a robust plan, marked by extraordinary effort and dedication to fighting terrorism, dating back to long before 9/11," he said. "Without such an effort, we would not have been able to give the president a plan on Sept. 15, 2001, that led to the routing of the Taliban, chasing al-Qaida from its Afghan sanctuary and combating terrorists across 92 countries."
It gets worse for the Democrats:
The CIA's analysis of al-Qaida before Sept. 2001 was lacking. No comprehensive report focusing on bin Laden was written after 1993, and no comprehensive report laying out the threats of 2001 was assembled. "A number of important issues were covered insufficiently or not at all," the report found.
Footnote: William Jefferson Clinton was President 1993-2001
While blame is heaped on Tenet and his deputies, the report also says that Tenet was forcefully engaged in counterterrorism efforts and personally sounded the alarm before Congress, the military and policymakers. In a now well-known 1998 memo, he declared, "We are at war."
Thanks Bill. Great job. Douchebag.
And people want to elect another Clinton?
I'll pass.
The Angry American


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Penguins Continue Hot Start With 6-1 Win Over Duquesne
Thomas Rodrigues
Boardman - The Youngstown State men's tennis team improved to 3-0 with a 6-1 win over Duquesne on Sunday morning at the Boardman Tennis Center.
The Penguins are off to their best start to a season since 2004-05 when they won four straight fall duals to open the season.
YSU opened Sunday's dual winning all three doubles matches. At No. 1, Thomas Rodrigues and Mitch Marosher picked up a 6-3 win while at No. 2, Joao Garretto and Matthew Kritzinger also won 6-3.
In singles play, Maroscher earned a 6-4, 7-5 win over Adam Blasinsky at No. 1. At No. 3, Rodrigues won in straight sets 6-4, 7-5 over Drew Akins. Garretto won 6-3, 6-3 over Tim Kane at No. 4. At No. 5, Gabriel Tolesani earned a 6-3, 6-2 win over Andrew Ong while at No. 6, Luke Purser won in three sets over Jared Isaacs by a 6-1, 4-6, 10-3 score.
YSU is next in action on Saturday when it plays host to Saint Francis (Pa.) at the Boardman Tennis Center. The dual is set to start at 3 p.m.


ALI and Dahlia takes an unflinching look at the Arab/Israeli conflict, offering up a heart-breaking romance as its powerful access point.
Performed in the round, the cast camouflage themselves among the audience, making a genuinely surprising, and therefore powerful, entrance as they take to the minimal stage.
All the performances are memorable, with Kai Spellman performing admirably despite the difficulty of multi-roling characters. However, it was Ali's (Waj Ali) and Dahlia's (Deli Segal) captivating romance that earns this piece such high accolades. Their talented physicality makes their loss of innocence not only believable, but relatable. As their years grow alongside their distance, they emotively portray the pervading effects of the inherited traumas of their past and present.
Tariq Jordan's writing draws on his own Arabic-Muslim heritage allowing the piece to become personal while not over-simplifying complex political histories. His writing is extremely powerful, merging humour and poignancy effortlessly: "everything in the world is made in China –except courage –courage is made in Palestine".
Perforated with Arabic rap music and using tantalising culinary imagery, Ali and Dahlia is an enduring assault on the senses, a modern star-crossed lover's tale with unfortunately all too real origins.


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Ukraine To Stay Out Of EU And NATO For 20 Years, Say Jean-Claude Juncker
BRUSSELS, Belgium -- European Commission President Jean-Claude Juncker has dashed Ukraine's hopes of joining the EU and NATO anytime soon, estimating that it will take at least two decades before the former Soviet state is a member of either.
Ukraine President Petro Poroshenko (left) is welcomed by European Commission President Jean-Claude Juncker in Brussels, Belgium, August 27, 2015. Juncker has dashed Ukraine's hopes of joining the EU and NATO anytime soon.
"Ukraine will definitely not be able to become a member of the EU in the next 20-to-25 years, and not of NATO either," Juncker said during a speech in the Netherlands, Radio Liberty reports.
The European politician did not explain why Ukraine was so far from membership but he made the claim while reassuring Dutch voters that despite new moves to bring Kiev closer to the EU, this was not a precursor for membership.
Juncker said the EU had enlarged too quickly in the past and insisted Brussels "will not make that mistake again."
The EU's free-trade agreement with Ukraine which came into force in January will be the subject of a non-binding referendum in the Netherlands in April.
Juncker assured Dutch voters that the deal would not speed up Ukraine's potential entry into the EU.
Pro-European protesters toppled Ukraine's then-President Viktor Yanukovych in 2014 after he made a controversial move to refuse an EU association agreement in 2013 that pulled Ukraine further from EU integration.
Since then, Ukraine's new government has vowed to carry out pro-Western reforms and President Petro Poroshenko has promised to hold a referendum on joining NATO whenever reforms are complete.
As fighting with Russian-backed rebels in eastern Ukraine has bled into a low-intensity war inside Ukraine, NATO has been helping Kiev's military adopt Western standards.
But the help has not extended to providing combat support.
Despite Juncker's claims, Kiev continues to hope for the implementation of a visa-free relationship with the EU, while the EU and U.S. remain big stakeholders in Ukraine's developments after granting Kiev a 1.8 billion euro ($2 billion) loan.
George Woloshyn said…
None of these statements by prominent EU politicians mean much......
Ukraine will enter the EU and NATO when it suppresses corruption and becomes a militarily powerful and economically prosperous state. Europe will then beg Ukraine to join. It is quite possible that little will remain of the EU and NATO 20-25 years from now except footnotes in history books. The demographic crisis may kill it off and there will be nothing of value to become part of. And that part which still has any substance and merit will want to join with Ukraine, Poland, Georgia, the Baltic states, and (possibly) a post-Lukashenko, (truly) sovereign Byelorussia.
Ukraine must first look to cleaning up its stables and getting its own house in order. There will be plenty of time - then - to consider EU and NATO affiliation. Nothing other than military and economic strength will make a dime's worth of difference in those deliberations.


Treasuries moved notably lower over the course of the trading session on Friday, extending the downward move seen in the previous session.
Bond prices came under pressure early in the session and remained firmly negative throughout the day. As a result, the yield on the benchmark ten-year note, which moves opposite of its price, advanced by 5.6 basis points to 2.560 percent.
The weakness among treasuries came as upbeat earnings news from financial giant JPMorgan Chase (JPM) reduced the appeal of safe havens like bonds.
JPMorgan kicked off the earnings season by reporting record first quarter earnings and revenues that exceeded analyst estimates.
A report from the Labor Department showing a biggest than expected increase in import prices also weighed on treasuries, although the price growth was largely due to another spike in prices for fuel imports.
Corporate results will continue to attract attention next week, although traders are also likely to keep an eye on reports on industrial production, homebuilder confidence, retail sales, and housing starts.


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