While writing my previous post, I grew aware that I wasn't mentioning any women filmmakers. So I'd like to add something addressing that (because of course one can find numerous examples). And along the way, I'll also try to say more in general about the power—and limitations—of the long take.
But first, a little more explanation about how I chose the first set of clips. In that first list, I tried to stick to directors who regularly employ long takes in their films—in other words, directors whose films display a long Median Shot Length.
I don't think that the final scene is even the longest one in the film (I haven't checked, but I believe that the take where the three men enter the Zone by rail is longer).
In making that first list, I chose to pass over films that include a single standout long take for dramatic effect, but overall are more typically shot and cut (in terms of the lengths of each take). These long takes are usually "bravura" moments that call attention to themselves: again, see the openings of Welles's Touch of Evil and Altman's The Player, as well as the final shot in Carol Reed's The Third Man, the opening of Brian DePalma's Snake Eyes, and scenes scattered here and there in Scorsese's Taxi Driver, Raging Bull, and Goodfellas. Not to mention many more examples in more recent films by various US directors who pay frequent homage to those directors. I have nothing against any of these films or these kinds of takes; I just didn't feel like discussing them here (and I think that the other list I linked to does a good job of focusing on these kinds of long takes—which, indeed, are often tracking shots).
But allow me two quick points about such takes: Brian DePalma has made his career on them. And although Hitchcock's Rope is frequently cited as his chief influence here, it's worth remembering that the man loves Antonioni as well. His remake of Blowup (1966), Blow-Out (1981), is too little seen.
Akerman frequently employs long takes, for example in her brilliant Je Tu Il Elle (1975), also now available on DVD. (1975 was a very good year for Akerman, and for cinema).
Akerman's use of the long take exemplifies (among other things) its "documentary" usage. While I find Akerman's long takes dramatic and spectacular, and technically challenging in their own ways, they seem intended more as a means of getting us to watch actors perform everyday actions in real time, over a long duration, thereby creating tension. Which is a different kind of tension, say, then watching Nicolas Cage stagger manically through a boxing arena.
According to legend, May repeatedly ran single-shot scenes until the camera ran out of film. She shot so much footage, so much of it improvised, that it took her a year to edit the film, which was eventually taken away from her. The result is heavily edited, but it still contains many long takes, and you can really feel the duration of the performances and the scenes even when the footage cuts.
Another filmmaker who makes frequent use of this documentary long take style is Samira Makhmalbaf, for example in her first feature, Sib (The Apple, 1998). You can watch the opening here (apparently the entire film is up at YouTube).
Long takes are a hallmark of contemporary Iranian cinema (see Greg's post on Abbas Kiarostami). Anyone interested in this stylistic phenomenon should check out Marva Nabili's The Sealed Soil (1978). It's difficult to find information in English about this film, but you can pick up used VHS copies fairly easily. And it's tremendous: an extremely methodical observation of a family's life that has no fear of letting scenes play out in long, static takes (often in long shot). Some will no doubt find it too challenging, but there's nothing else like it. It's one of the few films I've seen where the day is allowed to progress naturally; you can actually see the daylight changing in some of the shots.
Finally, I want to discuss one alternative to the long take, partly to further define them, but also to point out one of their limitations. André Bazin liked long takes because they supposedly strengthen a film's spatial and temporal continuity. But cutting can create a fantastical continuity that actual long takes would problematize.
…as well as many, many other examples in nearly all of her films.
Again, this list is hardly intended to be complete, but I hope it's now more representational. Happy viewing!
Ahhh! Adam I love Barbara Loden's Wanda, I love her use of the long takes, especially in the beginning, when she's a white ghost in the distance walking slowly across the coal mines. The pace of that film is unbelievable.
It's funny when the film came out everyone compared it to Bonnie & Clyde, but Loden hadn't seen it when she was working on the "script"/idea for the film – it was actually based on a newspaper story she had read, of a woman who was jailed after a robbery, and when she heard her ruling, she thanked the judge. Loden was dismissive of the beauty and glamour of Bonnie & Clyde, and always said Wanda was an anti-Bonnie & Clyde.
The pace and poetry of that film is so devastating. Jeanne Dielman is a wonderful counterpoint. The lives of these trapped women, the claustrophobia of their interior spaces, whether it be ponytailed Wanda in a crowd at the bar, looking dazed, or Jeanne Dielman peeling potatoes. The slow muted unraveling.
We all dream that we'll end up in Bonnie and Clyde (save maybe the final scene…or maybe even that), but in reality life is much more like Wanda (whose own final scene is one of the best in all of cinema).
yeah as far as i know she hadn't seen it from what i've read of the film (which granted, isn't much). mr. dennis is really based on her svengali-relationship with elia kazan, who wrote about her in his novel the arrangement and directed her in the marilyn monroe role in after the fall (and said he cast her because her and marilyn were both "orphans") and of course in splendor. and mr dennis is in many ways wanda's director, for the bank heist, grooming her to be more feminine, etc.
i'm sure she saw it, but not when she was making the film. and she reacted quite strongly to the parallel.
god i love that film. that hamburger scene, the casual cruelty of it – yes.
Great list Adam. Faithless by Liv Ullmann I believe has some long takes, I believe strongly that it does and it is a marvel. She just directed Blanchett in Streetcar Named Desire in Brooklyn as well.
rarely do you see a movie that captures the logic and sensation of a dream as well as Meshes of the Afternoon and At Land. They are fluid, unfunny, yet bizarre. The Japanese instrumentation that accompanies Meshes is as important as the actual footage in that it's original instead of evocative; it doesn't try to make you recall what it feels like to be unsettled – it unsettles you.


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Maryland Offers Teen Driver Cams
Jim Liebelt | Senior Writer, Editor and Researcher for the HomeWord Center for Youth and Family at Azusa Pacific University | Monday, October 27, 2008
Kudos to Maryland for their efforts in attempt to make teen driving safer. Free cameras that mount to a car's interior windshield are available to families with teen drivers. The cameras record footage only when sensors are triggered by excessive G-forces, that typically would accompany maneuvers such as sudden braking or swerving. I'm sure teens don't like it, but it sounds like a solid idea for motivating safer driving.
With Car Cameras, Teen Drivers Have Wide Audience
More than 100 cameras that record the moments before and after an unusual driving maneuver are still available for free for Southern Maryland families with teenage drivers.
The cameras are among the latest tools in the effort to reduce teen car crashes, a troublesome problem in Southern Maryland. Last year, crashes involving drivers ages 16 to 20 killed 15 people in the region, where young drivers have few public transportation options and often long commutes to school.
The cameras, produced by San Diego-based DriveCam, are paid for with a $170,000 grant from the Maryland Highway Administration, officials said. Typically, the hardware, installation and a year of service cost about $900. After the first year, the service runs about $30 a month. In Southern Maryland, Best Buy will install the cameras for free.
The cameras are mounted on the front windshield and capture activity inside and outside the vehicle. They save about 20 seconds of footage when sensors are triggered by excessive G-forces, which tend to accompany maneuvers such as sudden braking or swerving.
Saved footage is transmitted to DriveCam via a cellular network. Experts review the videos, add tips for the young drivers and post them on a Web site where parents can see them a day or so later. Parents receive an e-mail alert when the videos are posted.
For more information and ideas on keeping your teen driver safe, see my article on HomeWord.com:
Tips for Keeping Your Teen Driver Safe
Leave a comment here.

redpajama_set_name: RedPajamaCommonCrawl


In the 1870's bullion bars from Cerro Gordo mines were hauled across Owens Lake on the steamer "Bessie Brady" to Cartago boat landing. Remi Nadeau's 14-mule teams hauled the bullion to Los Angeles returning with freight.
* Cartago Wildlife Area is 218 acres of fresh water wetland and springs providing habitat for waterfowl, wading birds and shorebirds including western snowy plovers, white-faced ibis and rails. Owens Lake has been designated a Nationally Significant Important Bird Area by the National Audubon Society and American Bird Conservancy and 144 bird species have been documented on the area.
* Topography of the area is generally flat and at an elevation of 3,600'.
* Ruins of an old soda ash processing plant are on the southwest side of the wildlife area. Old dikes 3'-4' high extend into Owens Lake bed and encircle ponds which were once used as soda evaporators. Snowy plovers nest on the salt pans.


Have you ever wanted to gather all of your email accounts in a single application? Without having to switch between 3-4 different email tools?
What if I told you that for the last 18 months I haven't opened any of my Gmail accounts through the standard Gmail application? I haven't, and it's not a lie. Through this whole period, I was using a Gmail alternative email application.
We, humans, don't like change once we get comfortable. Even if we see glitches with the time as it passes, we tend to care the burden, rather than caring the thought of making a change and passing through the learning curve again.
Is Gmail Fit for Purpose?
And this is exactly how the idea behind Flow-e was born. One entrepreneur, a CEO of an 8-digit startup (ex-startup) and one big problem – perpetually piling emails and tasks and not a single tool available to help him get his head above the pile of emails.
Between 2014 and 2018 the average office worker received about 90 emails a day and sent around 40 business emails daily. Do you think that it is possible to keep track of all of your emails in an old-fashioned way? We work in a highly distractive environment, where it is hard to keep our attention sharp all the time.
We Use Sticky Notes and Journals to "Remember" What's Next.
Once I referred to the problem of the lack of proper email visualization. We are accustomed to reading emails in a horizontal view, where emails get buried, and tasks cannot be tracked.
One rule for a system to work is to have a trackable workflow; this is what we call agility. Once we have this setting, and by following some basic agile and lean principles, the work will have a better chance to flow. And this is the main focus of the current Gmail alternatives, many of which excel their service by providing free alternatives to collect Microsoft Outlook, Gmail, and Yahoo in one service.
The first thing I would like to mention here is that it is very difficult and time-consuming to build such a product. This is like building 3 different email applications simultaneously and wrapping them into one application without interfering with each other.
Now, imagine the human capacity needed for a company to build this magic product, for free. Yeah, not many companies will start such endeavor. And there aren't many on the market.
Most of the products are focused on one email client. Flow-e, in the context of the email client, has successfully built a product which integrates with both Gmail and Outlook (Gsuite and Office365). And I, in the context of a productivity maniac, have successfully found a way to integrate Yahoo mail within Flow-e (learn how: Connect Yahoo to Gmail and Flow-e).
So What Are the Best Alternatives to Gmail?
Okay, I can't count them all. There are quite a lot of alternatives to Gmail, and most of them I've tested myself.
Plus, no tool could be the right solution for each user. Thus, it will be more beneficial for the user to know what to look for when searching for the best alternatives to Gmail, especially after Gmail shut down Inbox.
If you can find a tool, which covers these requirements, then, I will definitely rank it among the best alternatives to Gmail.
If it doesn't, then dig more. The good part is that I can save you the hassle since we have already built an alternative to Google, which covers 99.99% of the requirements above.
And, yes, it's free. Go grab it, twist it, and adapt it to the way you work. This is the beauty of the agility Flow-e offers.


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Xbox game news
Microsoft: We are a devices company now
Upcoming PC games: The best new games to look forward to in 2020 and beyond
Steve Ballmer, Microsoft's CEO, has outlined in an open letter to the company's shareholders that it sees itself as a devices and services company now rather than just a software provider.
"Last year in this letter I said that, over time, the full value of our software will be seen and felt in how people use devices and services at work and in their personal lives. This is a significant shift, both in what we do and how we see ourselves - as a devices and services company," said Ballmer.
"It impacts how we run the company, how we develop new experiences, and how we take products to market for both consumers and businesses. The work we have accomplished in the past year and the roadmap in front of us brings this to life." s
Microsoft has slowly moved more and more into hardware, following Apple's lead in creating and controlling the entire process from the inception of a product to it being in your hands as you walk out of the store.
Following the success of the Xbox 360, and the company's mice and keyboard divisions, Microsoft will soon start selling the Microsoft Surface tablet - a product it has created to go up against its own partners such as HP, Dell, Asus, Samsung.
The news is sure to continue to stoke the rumour fires that the company is developing its own Windows Phone to go up against the Nokia Lumia range and HTC 8X and 8S handsets.
Hoping to quell those fears that companies like HTC or Lenovo might have, Ballmer seems keen to emphasise that it will be business as usual, in the letter:
"We will continue to work with a vast ecosystem of partners to deliver a broad spectrum of Windows PCs, tablets and phones. We do this because our customers want great choices and we believe there is no way one size suits over 1.3 billion Windows users around the world," Ballmer said.
But he added: "There will be times when we build specific devices for specific purposes, as we have chosen to do with Xbox and the recently announced Microsoft Surface. In all our work with partners and on our own devices, we will focus relentlessly on delivering delightful, seamless experiences across hardware, software and services. This means as we, with our partners, develop new Windows devices we'll build in services people want.
"Further, as we develop and update our consumer services, we'll do so in ways that take full advantage of hardware advances, that complement one another and that unify all the devices people use daily.
"So, right out of the box, a customer will get a stunning device that is connected to unique communications, productivity and entertainment services from Microsoft as well as access to great services and applications from our partners and developers around the world."
Looking towards the future Ballmer said that Microsoft was "developing new form factors that have increasingly natural ways to use them including touch, gestures and speech" and that: "Microsoft is working to establish one platform, Windows, across the PC, tablet, phone, server and cloud to drive a thriving ecosystem of developers, unify the cross-device user experience, and increase agility when bringing new advancements to market."
Sections Microsoft Tablets Phones Xbox Apps Games


We are so excited to announce our new comfort menu at iGrin Children's Dentistry. Our mission is to give every child that walks in the perfect patient experience so that it sets the tone for the rest of their lives. We want them to be so comfortable that they actually enjoy the dentist! That is why we came up with this fun way to allow them to pick different items that would enhance their experience. The menu is FREE for each and every patient. Items on the menu include a plethora of items which are distracting for the child while they are getting treatment done.
We offer headphones so that our iGrin kids can watch Disney movies right in the dental chair. We offer fidget spinners so they can fiddle with toy and have something to do with their hands. Also, on the comfort menu, we offer fun blankets that are shaped like mermaids and alligators. These are very popular for pictures! Parents love to take pictures and post on our social media pages like Facebook and Instagram. We also offer sweet stuffed animals on our comfort menu like the Lion pictured below. Each child can pick their favorite stuffed animal before sitting in the chair.
Lastly, we offer chapstick because often times, children will tell us that their lips feel chapped after a procedure. We like to offer this item as an option on our comfort menu in case they feel like their lips are extra dry. Even though we did not include everything on comfort menu pictured, we want our patients to know that they can ask for ANYTHING that would make them more comfortable– bottled water, juice, crackers, cookies, coffee (found on in our cafe, free for every patient). Please don't hesitate to call us with any questions you may have and we look forward to serving you and your child.


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Tris (també conegut com a THAM o trometamol), abreviació del compost orgànic denominat tris (hidroximetil) aminometà, amb fórmula (CH₂OH)₃CNH₂ és àmpliament utilitzat en bioquímica i biologia molecular, és un aminoalcohol biològicament inert de baixa toxicitat, que actua com amortidor o tampó del diòxid de carboni i àcids in vitro i in vivo. En bioquímica, el tris s'utilitza àmpliament com un component de les solucions tampó, com el TAE i el tampó TBE, especialment per a les solucions d'àcids nucleics. Es tracta d'una amina primària i per tant pot patir les reaccions que generalment s'associen a les amines típiques, per exemple, condensacions amb aldehids.

 El pKa disminueix aproximadament 0,03 unitats per cada grau Celsius d'augment de la temperatura.
 Els elèctrodes de plata per mesurar el pH que contenen una sola juntura (per exemple, l'elèctrode de clorur de plata) són incompatibles amb el Tris (es forma un precipitat Ag-Tris que obstrueix l'elèctrode). Els elèctrodes d'unió doble són resistents a aquest problema, i els que no són de plata hi són completament immunes.
 Una forma comuna del tris és el tris-HCl, que és la sal de l'àcid. Quan aquest es troba a pH = pKa, el seu ió conjugat (OH- per Tris-HCl, H₃O+ per tris base) té una concentració equivalent a la de la sal. No obstant això, les masses moleculars són diferents i han de ser correctament ajustats per tal d'arribar a la força d'esmorteïment que s'esperaria.
 És un acceptor de protons amb una equivalència estequiomètrica d'un protó per molècula.
 Restaura ràpidament el pH després de problemes en la regulació de l'acidosi causats per la retenció de diòxid de carboni o l'acumulació d'àcid metabòlic, que tenen el potencial d'afectar negativament l'homeòstasi.
 In vivo, el tris suplementa la capacitat esmorteïdora del sistema de tampó hidrogencarbonat de la sang, acceptant protons, el que permet la regeneració de l'hidrogencarbonat i la disminució de la pressió parcial de diòxid de carboni a la sang arterial (PCO₂).

 No pot actuar com a esmorteïdor de pH dins de la cèl·lula perquè és més probable que interaccioni amb els sistemes enzimàtics. Moltes d'aquestes interaccions estan encara per determinar i se les ha de diferenciar de l'efecte sobre el pH del propi tris.

Inhibició per tampó
El Tris inhibeix una sèrie d'enzims, i per tant, s'ha d'utilitzar amb cura en l'estudi de les proteïnes.

Preparació
El Tris es prepara en dues passes, en la primera la condensació de formaldehid i nitrometà dona el producte intermedi (CH₂OH)₃CNO₂. La hidrogenació d'aquest últim dona tris (hidroximetil) aminometà.

Ús
El rang d'amortiment d'utilitat per al tris (pH 7-9) coincideix amb el pH fisiològic de la majoria dels organismes vius. Això, i el seu baix cost, fan que sigui un dels tampons més comuns utilitzats en el laboratori de biologia / bioquímica.

Ús químic i bioquímic
S'utilitza com a patró primari per estandarditzar les solucions d'àcid per anàlisi química.

Com que compostos similars al tris penetrarien a un ritme relativament lent dins les cèl·lules, emprar-los per modificar el pH intracel·lular podria ser molt útil en el treball experimental per tal d'alterar l'activitat d'enzims específics (que tenen una major activitat dins un interval concret de pH) in vivo.

No obstant això, aquests compostos no serien realment efectius, principalment a causa de la inestabilitat de la majoria de compostos orgànics amb propietats amortidores en condicions fisiològiques. En canvi, el tris és una eina útil per als fisiòlegs i farmacòlegs que volen estudiar els efectes de les alteracions de l'equilibri àcid-base perquè és molt més estable que altres compostos similars.

Ús mèdic
El tris (generalment conegut com a THAM, en aquest context) s'utilitza com a alternativa a l'hidrogencarbonat de sodi en el tractament de l'acidosi metabòlica.

El tris es distribueix ràpidament a través de l'espai extracel·lular, i, amb més lentitud, a l'espai intracel·lular (excepte en eritròcits i hepatòcits). S'excreta pel ronyó en la seva forma protonada. A diferència de l'hidrogencarbonat, que requereix un sistema obert per al diòxid de carboni per exercir el seu efecte amortidor, el tris és efectiu en un sistema tancat o semi tancat, i manté la seva capacitat esmorteïdora fins i tot quan el pacient al que li és administrat es troba en estat d'hipotèrmia.

Si el tris és administrat a pH altament bàsic (10.4 o més) en una vena perifèrica o umbilical, pot provocar irritació tissular i/o trombosi venosa. Si en lloc d'això s'administra acetat de tris 0,3 M (mol/L) a pH 8,6, aquest es tolera bé i no causa irritació ni trombosi en els teixits circumdants. En dosis excessives, el tris pot induir depressió respiratòria (la resposta corporal normal a una disminució excessiva de la pCO₂) i hipoglucèmia, cosa que requereix ventilació assistida i administració de glucosa.

En el tractament de l'acidosi, la dosi requerida es pot estimar de la manera següent:
[ml requerits de tris 0,3M] = pes corporal (kg) x dèficit de base (mM). La dosi màxima diària és de 15 mg/kg per a un adult (3.5 litres de TRIS 0,3 M en un pacient de 70 kg).

Quan s'esdevé un cas d'acidosi severa i hipercàpnia (pressió parcial de CO₂ a la sang arterial per sobre de 46 mmHg) en el qual es veuen superats els mecanismes homeostàtics de regulació del pH sanguini (pH <o = 7,20), l'ús de tris dins d'una "finestra terapèutica" pot resultar eficaç. Permet restaurar el pH del medi intern, fent així que els sistemes tampó de l'organisme (com el tampó hidrogencarbonat) puguin recuperar la seva funció habitual. En el tractament de la insuficiència respiratòria, el tris s'ha utilitzat en combinació amb la hipotèrmia per controlar la hipercàpnia. També és indicat per a la diabetis o la insuficiència renal associades a acidosi, la intoxicació per barbitúrics, i l'augment de la pressió intracranial a causa d'un traumatisme cranial. El tris també s'utilitza en solucions de cardioplegia (detenció intencionada del cor en diàstole, generalment per a la seva cirurgia), durant el trasplantament hepàtic i de quimiòlisi de càlculs renals.

És un agent que, en el seu estat ionitzat (protonat), actua sobre el ronyó com un catió no reabsorbible. Donat que, dins el rang normal del pH sanguini es troba ionitzat aproximadament en un 70%, roman majoritàriament en el líquid extracel·lular (la membrana plasmàtica és impermeable o quasi impermeable a la majoria dels ions, inclòs el tris) i s'excreta ràpidament amb l'orina si el ronyó és funcional.

La fracció de tris que penetra a les cèl·lules es troba ionitzat en un 90%. No pot actuar com a amortidor de pH dins de la cèl·lula perquè és més probable que interaccioni amb els sistemes enzimàtics.

És un dels components del vaccí per a la COVID-19 de Moderna i en la de menors de 5 a 11 de Pfizer.

Efectes en la salut i primers auxilis
La seva inhalació causa irritació en el tracte respiratori. Els símptomes que poden aparèixer són tos i dificultat per respirar. És aconsellable en aquests casos respirar aire lliure. Si la persona deixa de respirar, se li ha d'administrar respiració artificial. Quan la respiració sigui dificultosa, se li ha de donar oxigen.

La ingesta pot provocar irritació bucoesofègica i que les membranes mucoses de la boca, l'esòfag i el tracte gastrointestinal es tornin de color vermellós. Els símptomes principals són vòmit, diarrea i nàusees. Si la dosi ingerida és molt gran pot arribar a causar debilitat, col·lapse o sagnat. La dosi letal s'estima en 50 mg. Un primer ajut per a una persona que ha ingerit el compost és induir-li el vòmit amb alguna substància emètica.

La pell s'irrita en contacte amb aquest compost. Es pot patir envermelliment, dolor i picor a la pell. Una exposició continuada a la pell podria suposar una dermatitis crònica. Per això, cal netejar durant 15 minuts la pell amb aigua i sabó en el moment en què s'hi entra en contacte, treure's la roba contaminada i rentar-la abans de tornar-la a utilitzar.

Si els ulls hi entren en contacte, provoca envermelliment, dolor i irritació. Cal mullar-los amb aigua durant 15 minuts aixecant les parpelles superiors i inferiors cada cert temps. En tot cas, cal avisar a personal mèdic qualificat.

Referències

Alcohols
Amines

redpajama_set_name: RedPajamaWikipedia


Nothing shouts "Summer!" more emphatically than hanging baskets brimming with masses of petunias (Petunia spp.) Where they don't bloom year-round in U.S. Department of Agriculture plant hardiness zones 10 through 11, <ahref="http: planthardiness.ars.usda.gov="" phzmweb="" "="" target="_blank"> </ahref="http:>petunias cover themselves in fragrant flowers – some up to 4 inches wide – from early spring until the first killing frost. Although hanging-basket petunias require more attention than their garden-planted counterparts, their enthusiastic performance is well worth the extra effort.
The cascades of color that make petunia hanging baskets so appealing won't materialize without at least six hours of daily sun and regular doses of fertilizer. Producing all those trailing stems of flowers takes lots of energy.
To give them the best start, mix slow-release 5-10-5 granulated plant food into the soil before planting. One manufacturer recommends using 2 teaspoons for each 1 square foot of soil. After adding the petunias, fill the container with soil and water well.
Rain and maintenance watering both leach nutrients from hanging baskets. Yellowing leaves are a sign of nutrient deficiency. When they appear, begin fertilizing the petunias with liquid, 5-10-5 plant food every 10 days to two weeks for the remainder of the growing season. Mix a solution of 4 tablespoons, or the label's specified amount, of the plant food and 1 gallon of water.
Hanging baskets dry out quickly. In hot, dry weather, petunias may need watering twice a day. Overwatering, however, may rot their roots. When you do water, stop only when water begins draining from the bottom of the baskets.
Many petunia varieties need regular grooming to look their best for an entire growing season. If their spent flowers are allowed to go to seed, they'll stop blooming. Deadheading, the practice of pinching old blooms off below the thickened base where seeds form, keeps new ones coming.
If the plants become overgrown, prune them back by one-third. Using clean, sharp stem cutters, make each pruning cut just above a set of leaves. Healthy new growth and flowers soon follow.
Petunias' occasional diseases include root rot from excessively wet soil. As long as their baskets have at least four drainage holes, root rot isn't likely.
Gray mold surfaces as fuzzy, grayish to brown blotches on the stems and leaves. The fungus loves humidity, so don't overcrowd baskets. Water the petunias at their bases so the leaves stay dry .
Late blight causes water-soaked, irregular spots on young leaves. Affected leaves eventually turn brown and die. Spraying weekly with ready-to-use chlorothalonil protects the plants when warm days, cool nights and wet weather favor the disease. Spray until the fungicide drips from their leaves.
Yellow mottling on petunia leaves indicates tobacco mosaic virus. Other symptoms include stunted or distorted growth and leaf lesions. No cure exists; dispose of infected plants and their potting mix and baskets in sealed plastic bags, and disinfect any gardening tools they may have contaminated in a solution of 1 part household bleach to 9 parts alcohol.
Aphids drain sap from tender new stems and leaves, covering them in sticky waste called honeydew. Tiny black flea beetles typically arrive in midsummer to chew holes in the backs of the leaves.
Organic, ready-to-use pyrethrin insecticide kills both insects. Spray the plants until they drip, being sure to cover the backs of the leaves where the insects usually feed.


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ISIN: DE000A2PXQD4
Nachricht vom 16.09.2020 | 17:41
TubeSolar AG: Free State of Bavaria supports innovative agro-photovoltaic solutionwith adouble-digit million euro amount - Bavarian Minister of Economic Affairs Hubert Aiwanger personally hands over notice of funding in Augsburg (news with additional features)
DGAP-News: TubeSolar AG / Key word(s): Financing/Product Launch
TubeSolar AG: Free State of Bavaria supports innovative agro-photovoltaic solution with a 10.8 million euro amount - Bavarian Minister of Economic Affairs Hubert Aiwanger personally hands over notice of funding in Augsburg
- Non-repayable grants from Bavarian Energy Research Programme awarded
- Further expansion of production at Augsburg site planned
- Patented tube technology enables dual use of agricultural land
Augsburg, September 16, 2020 - TubeSolar AG (ISIN DE000A2PXQD4, Dusseldorf Stock Exchange), an innovative manufacturer of robust thin-film tubes for solar energy generation with a focus on applications in agriculture (agro-photovoltaics), today received from the hands of the Bavarian Minister of Economic Affairs Hubert Aiwanger the notification from the Bavarian Ministry of Economic Affairs for funding of 10.827 million euro from the Bavarian Energy Research Programme. These are non-repayable grants. The funding will be provided over a period of three years.
The promised subsidies are intended to support the further expansion of the Augsburg production site of TubeSolar AG.
Founded in 2019, the company was a spin-off company that took over the laboratory production and patents of OSRAM/LEDVANCE in Augsburg and has been growing steadily ever since. TubeSolar AG now employs 37 full-time staff, most of them highly experienced specialists from the former OSRAM/LEDVANCE site. In the medium term, a total of 120 million euros is to be invested in setting up a 250 MW production and the workforce is to be expanded to 250 employees. The high level of automation will secure the Augsburg site in the long term.
Hubert Aiwanger, Minister of Economic Affairs of the Free State of Bavaria supports the project: "I am delighted that here in Augsburg new standards are being set in the field of photovoltaics with the innovative concept of TubeSolar AG and that the future of photovoltaics is being actively shaped. Thanks to the innovative tubular modules from TubeSolar AG, the motto in future will no longer be "either or" but rather "both and": agriculture and energy production. And not only that: Due to the significantly lower weight, many previously unused roofs can be used for electricity production and the potential of roof-mounted PV can be exploited much better. Therefore the Free State of Bavaria is very happy to support this project with a large grant".
Reiner Egner, Member of the Management Board of TubeSolar AG: "It makes us proud that the Bavarian Minister of Economic Affairs, Mr. Hubert Aiwanger, personally presented us with the funding notice today. Our patented technology allows agricultural land to be used twice: as arable land for agricultural products and, with elevations adapted to the respective needs in terms of height, also as a supplier of electricity from solar energy. We are thus offering a smart solution for the increasingly scarce land areas".
Jürgen Gallina, Member of the Management Board of TubeSolar AG, adds: "With the binding approval of the subsidies, we can start ordering the new production equipment. We want to set up a highly automated production line as soon as possible. We have been preparing this step intensively for months. This will enable us to expand our production capacities considerably".
The stable and lightweight TubeSolar modules are approx. 2 metres long and approx. 1 metre wide and each contains 40 tubes. Due to the water and wind permeability of the TubeSolar modules, electricity can be harvested and the area underneath remains usable for agriculture.
In addition to the recently published cooperation with the world-renowned engineering office schlaich bergermann partner - sbp sonne, the funding commitment of the Bavarian Ministry of Economic Affairs marks another milestone on the way to becoming a global agro-photovoltaics provider.
About TubeSolar AG
As a spin-off , TubeSolar AG has taken over the laboratory production including patents from OSRAM/LEDVANCE in Augsburg and has been using this patented technology since 2019 to manufacture photovoltaic thin-film tubes that are assembled into modules. These have considerable advantages over silicon solar modules in terms of weight, geometry, material usage, yield, long-term stability and recycling. The technology is to be used primarily in the agricultural sector and will span agricultural production areas. Over the next few years, it is planned to expand production in Augsburg to an annual production capacity of 250 MW.
About the Bavarian Energy Research Programme
The Bavarian Energy Research Programme supports the research, development and application (demonstration) of highly innovative energy and energy saving technologies with the aim of increasing the use of renewable energies, reducing energy-related CO2 emissions, increasing security of energy supply and improving energy efficiency. Funding will be provided for individual projects involving a considerable technical and economic risk.
website: www.tubesolar.de
Maximilian Fischer, mailto: m.fischer@tubesolar.de
max Equity Marketing GmbH, Marienplatz 2, 80331 Munich, Germany, Tel.: +49 89 13928890
This announcement and the information contained herein does not constitute an offer or an invitation to purchase or subscribe for securities in the United States of America, Canada, Australia, Japan or in any other jurisdiction in which such an offer may be restricted. The securities of the Company have not been and will not be registered under the U.S. Securities Act of 1933, as amended (the "Securities Act") or with the securities regulatory authorities of any state of the United States. The securities may not be offered, sold or delivered, directly or indirectly, in the United States except pursuant to an exemption from the registration and reporting requirements of the United States securities laws and in compliance with all other applicable United States laws. The Company does not intend to register its shares under the Securities Act or to conduct a public offering of securities in the United States.
This communication does not constitute an offer document or an offer of securities to the public in the United Kingdom to which Section 85 of the U.K. Securities Exchange Act applies. Financial Services and Markets Act 2000 and should not be construed as a recommendation to any person to subscribe for or purchase any securities in the offer. This document is only being distributed to (i) persons who are outside the United Kingdom; (ii) persons who have professional experience in matters relating to investments within the meaning of section 19(5) of the U.K. Financial Services and Markets Act 2000; and (iii) persons who have professional experience in matters relating to investments within the meaning of section 19(5) of the U.K. Financial Services and Markets Act 2000. Financial Services and Markets Act 2000 (Financial Promotion) Order 2005 (as amended) (the "Order") or (iii) high net worth companies, unincorporated associations and other entities falling within Article 49 (2) (a) to (d) of the Order (all such persons are referred to herein as "Relevant Persons"). Any person who is not a Relevant Person must not act or rely on this communication or any of its contents . Any investment or investment activity to which this communication relates is available only to Relevant Persons and will be engaged in only with Relevant Persons.
This release may containforward-looking statements. These statements are based on the current views, expectations, assumptions and information of the management of the Company. Forward-looking statements are not guarantees of future results and developments and involve known and unknown risks and uncertainties. The actual future results and developments concerning the company may therefore differ substantially from the expectations and assumptions expressed here due to various factors. These factors include, in particular, changes in the general economic situation and the competitive situation, risks arising from developments in the financial markets, exchange rate fluctuations and changes in national and international laws and regulations, particularly with regard to tax laws and regulations, as well as other factors. The company assumes no obligation to update the statements contained in this release.
Picture: http://newsfeed2.eqs.com/57222a/1132245.html
Subtitle: Wirtschaftsminister Aiwanger überreicht Förderbescheid an TubeSolar Vorstände
Company: TubeSolar AG
E-mail: ir@tubesolar.de
Internet: www.tubesolar.de
Listed: Regulated Unofficial Market in Dusseldorf
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redpajama_set_name: RedPajamaGithub


text:
Shot my first WWII British Sterling
Jeff in TX Senior MemberPosts: 1,637 Senior Member
June 2015 in General Firearms #1
Shot my first WWII British Sterling full auto machine gun this past weekend. My step son's dad brought his out to the ranch with a few thousand rounds of 9mm to shoot. I believe the clip holds 33 to 35 rounds. Being a lefty I was at a bit of a disadvantage. The right hand shooters were able to hold onto the mag sticking out to control the recoil lift when empting a mag. I found I didn't have great control and had to shoot it in short burst which was probably 10 rounds at a time.
I have a full size 1/2" thick steel hog target with a kill zone swinging door. When the first round would hit the door the door swung open and you could see the other rounds hitting behind the target through the door opening. Then the door would close and another round would reopen it. It was just really cool shooting something almost 70 years old. It was very simplistic in design but functioned flawlessly.
I look forward to shooting it again.
Distance is not an issue, but the wind can make it interesting!
John 3: 1-21
June 2015 #2
I fired one a neighbor of the old man's owned. Mrs Chief fired it too back in the 90s. Heavy **** fer a 9mm. Fun as all get out though. Also a full auto M-1 .30 Carbine, more fun.
DanChamberlain Senior Member Posts: 3,395 Senior Member
M-2 Carbine
It's a source of great pride for me, that when my name is googled, one finds book titles and not mug shots. Daniel C. Chamberlain
HvyMax Senior Member Posts: 1,786 Senior Member
The old open bolts were heavy because the weight of the bolt is what makes it work. I remember a few years ago getting that old familiar feeling from my friends Uzi.
Wal Mart where the discriminating white trash shop.
Paddle faster!!! I hear banjos.
Reason for editing: correcting my auto correct
You suck! I would love to play with a full auto sterling.
DanChamberlain wrote: »
Correct, the full-auto capable version of the M-1.
Dan beat me to it, rats.... The M-2 carbine is quite the sweet bit of ordnance.
Jeff in TX wrote: »
Shot my first WWII British Sterling.
The Sterling did not replace the Sten in active service until the late 50s early 60s
Still, very cool all the same. :cool: :up: :worthy: And a "you suck"
Very much missed by those that did.
I believe the clip holds 33 to 35 rounds.
Let us not go there. :tooth:
I seem to remember reading that the Sten cost about $9 per unit to manufacture - a brilliant adjustment to wartime shortages. Our own low-budget M3 grease gun cost nearly $20, and we didn't get all the 'bugs' out till very late in the war. It reportedly was still being issued sparingly during the first Gulf War.
Our own low-budget M3 grease gun cost nearly $20, and we didn't get all the 'bugs' out till very late in the war. It reportedly was still being issued sparingly during the first Gulf War..........................The Sterling also.
The new SA80 did not perform reliably in the sandy conditions met in the Gulf, with overheating a tendency to jam.
Actually reports appeared that what happen in the Gulf, happen in Wales on training.
Front line units moved to procure as many SLRs, Brens, GPMGs and Sterling they could fine.( the Falklands War armoury in fact.)
Quote," The older generation of weapons seemed to be designed for reliability and for functioning in adverse conditions." Unquote. :roll:
The SA80 A2, re- manufactured in house by Heckler & Koch, is a totally different beast.
In my circles, I've been lucky enough to get to play with a number of full autos over the years, and the STEN was one of my favorites. The slow rate of fire guns like that usually are - I typically walk away feeling that their engineers "got it" a lot more than the eggheads who cooked up the faster running guns. If you have to square up and brace your body in order to keep the gun from taking you for a ride, you lose a lot of the supposed advantages of full auto anyway. Unless you're bolting it to a hardpoint, 350-500RPM is plenty.
and the STEN was one of my favorites........
Heard tell the Australian Owen was the best of the bunch, looked like a Sten but the magazine was straight up.
Used in Vietnam in the 60's.
I knew someone who was a tanker about the time of the First Gulf War and he said his issued weapon was a Grease Gun.
The Sten (portmanteau of STerling and ENfield) was a good cheap subgun. However, it jammed in the assassination of Reinhardt Heydrich in 1942 by Czech/British resistance fighters, where a bomb was required to fill out the mission. What happened to cause the failure to fire, we'll never know. Any weapon can have the occasional misfire, but they always seem to happen in the most crucial situations.
I've fired a few subguns with both open-bolt and closed-bolt designs. The closed-bolt is much more accurate on the first round. My favorite subguns were the Uzi for concealability and the MP 5 for accuracy and design. Both are probably obsolete by now. Our Uzis were suppressed, very quiet and accurate enough.
Hopefully the changes in the Sterling made it more reliable. As well as more accurate (for a subgun.)
The suppressed MP-5 was a fave and special requistion / issue / SW / JTF units.
Jeff in TX Senior Member Posts: 1,637 Senior Member
Great history lesson folks. I have nothing to go by as this was my first time firing a full auto machine gun. It was totally cool and I hope to do it again. As for accuracy, I'm truly not sure that played into the equation for me. As I said being a lefty it was much harder to control the lift as to why I had to use short bursts, though I'm sure with practice I could have gotten very good with it. My observation with this gun which was very short would have been to spray an area with lots of bullets (cover fire) or shoot at the enemy or a group of enemy solders.
Here's a question, what is the measurement of accuracy for a fully auto machine gun for WWII and for today?
HappySquid Member Posts: 292 Member
A friend has the STG-44 his uncle shipped back to the USA a piece at a time during the occupation of postwar Germany, but he has to keep it hidden- - - -no paper trail!
I think that's an M-2 if I'm not wrong.
..... if I'm not wrong.
You are not wrong, snake.
Blind as a bat, but not wrong. :devil: :tooth: :rotflmao::rotflmao:
Well, to be pedantic, it's not a machine gun, it's a submachine gun. A machine gun fires a full rifle round and is crew-served. In criminal law, it's a "machine gun" in the same way an AR 15 is an "assault rifle." But in real life, it's a subgun.
Accuracy can be pretty iffy with an open-bolt weapon. The weight of that bolt going forward can push you off target. And they're not a 100 yard gun so MOA is kinda meaningless. So I'd say at 50 yards, probably five inches or so, maybe less. The Uzi I shot was only at 25 yards, and was maybe three or four inches, don't really remember.
A closed bolt weapon like an MP 5 can get great accuracy.
A 1911 with a piece of crud jamming the firing pin in the forward position can go full auto for a very short time, as a friend of mine discovered. He dropped the slide on a full magazine, which became an empty magazine in a couple of seconds!
Friend Eddie G had a sear or hammer engaging surface chip and Brraaappp!!!!
Magazine emptied in a flash, my friend with BATF was there and willing to play along, so he tins old Ed, and Ed is all ham- annah hamana stammering like Jackie Gleason, rather funny at the time....


text:
What is St. Bridget's Cross - The Story about the Cross + How to Make One - A Guide
St.Brigid, also known as "Mary of the Gael", is an abbess and patroness of Ireland. She is furthermore the founder of the first Irish monastery in County Kildare, Ireland. Born in Dundalk in 450 AD, St Brigid is accredited with first creating the unique cross which bears her name. This cross is normally hand created from rushes however occasionally straw is also used.
The distinctive St. Brigid's Cross design, made from woven rushes, is thought to keep evil, fire and hunger from the homes in which it is displayed.
The tale as we know it is as follows....
There was an old pagan Chieftain who lay delirious on his deathbed in Kildare (some believe this was her father) and his servants summoned Brigid to his beside in the hope that the saintly woman may calm his restless spirit. Brigid is said to have sat by his bed, consoling and calming him and it is here that she picked up the rushes from the floor and began weaving them into the distinctive cross pattern. Whilst she weaved, she explained the meaning of the cross to the sick Chieftain and it is thought her calming words brought peace to his soul. He was so enamoured by her words that the old Chieftain requested he be baptized as a Christian just before his passing.
Since that day, and for the centuries that followed, it has been customary on the eve of her Feast Day (1st February) for the Irish people to fashion a St. Brigid's Cross of straw or rushes and place it inside the house over the door.
Edited from : https://www.blarney.com/st-brigid_s-cross/
How to Make a St. Bridget's Cross:
16 Reeds (or Straws)
4 small rubber bands
Hold one of the reeds vertically. Fold a second reed in half as in the diagram.
Place the first vertical reed in the centre of the folded second reed.
Hold the centre overlap tightly between thumb and forefinger.
Turn the two rushes held together 90 degrees anti-clockwise so that the open ends of the second reed are pointing vertically upwards.
Fold a third reed in half and over both parts of the second reed to lie horizontally from left to right against the first straw. Hold tight.
Holding the centre tightly, turn the three reeds 90 degrees anti-clockwise so that the open ends of the third reed are pointing upwards.
Fold a new reed in half over and across all the rushes pointing upwards.
Repeat the process of rotating all the rushes 90 degrees anti-clockwise, adding a new folded reed each time until all rushes have been used up to make the cross.
Secure the arms of the cross with elastic bands. Trim the ends to make them all the same length. The St Bridget's Cross is now ready to hang. Source: https://scoil-bhride.com/how-to-make-a-st-brigids-cross/
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Indian Ocean is a logistically challenging place for large scale ship observation despite its large amplitude variability with intraseasonal to decadal time scales owing to the complicated wind system and topography. After IIOE-1, World Ocean Circulation Experiment (WOCE) established a number of hydrographic sections to monitor this important ocean. As JAMSTEC contribution towards the Global Ocean Ship-based Hydrographic Investigation Program (GO-SHIP), decadal reoccupation of the WOCE section I8N (nominally along 80�E, 6�N to 24�S, previously occupied in 1995) and new occupation of the section I7S (nominally along 57.5�E, 28�S to ice edge) are proposed. All GO-SHIP level 1 and some level 2 water samples will be collected from the surface to near the bottom along with continuous CTD observation. In addition to providing baseline hydrographic data to describe the ocean circulation in this relatively unknown part of the Indian Ocean, the data will contribute to clarify subsurface decadal changes in water properties associated with climate change and to improve the carbon budget by measuring the subsurface carbon distribution in this mode/intermediate water source region. Other items including ocean-atmosphere fluxes and biogeochemical parameters will also be measured.


Creams are a popular form of testosterone replacement therapy for a few reasons: you can apply the cream yourself, the time between follow-up visits is longer than those who are using injections, your T levels will generally be steadier than those of men who are using injections, but you may not feel the effects of the creams as quickly.
Regarding application, you will want to apply the cream on areas of your skin that have the least amount of hair and a high amount of blood flow. Common areas include the shoulders, behind the knees, or on the inner thighs. Some men choose to apply the cream to the inner arms, but this area increases your risk of transferring the cream on someone else. The cream usually takes an hour to absorb completely—try to avoid physical activity or sexual contact during that time. You'll need to apply the cream once a day.
Some men may experience a skin reaction to the cream. To minimize this possibility, make sure that you apply the testosterone cream on clean, unbroken skin. There's also the risk of transferring the cream to others. Women or children who come in contact with the cream may experience side effects, but contact with the cream is especially dangerous for pregnant women.
If you're interested in testosterone creams, give us a call today at (817) 369.3506 or click here to send us a message. We'll schedule an initial appointment and help you figure out if testosterone creams are right for you. We have two convenient office locations in Colleyville and Fort Worth.


A Day in the Life of Washington D.C.
Woke up in a fog around 6:30 a.m. Jogged, showered, put on a $400 outfit. Ate a small healthy breakfast, drank a tremendous amount of coffee.
Someone in D.C. is trying to run with a dog. The person and the dog can not keep the same speed and they both give up.
If it is a day off go for a longer jog.
Everyone just complained about the weather.
D.C. does not work before 9:00 a.m.
There is always traffic between 7:00 and 10:00. When driving leave at least 45 minutes early.
At this moment, five different cars have cut five other cars off, all ten cars are honking.
When taking the Metro, prepare to be uncomfortably close to the people next to you.
On one metro train there is a family of tourists, five businessmen, seven businesswomen, an elderly woman hiding a cat in her purse, two Swedish students, at least one aspiring politician, eight interns, a reporter from the Washington Post, a reporter from Politico and a partridge in a f**king pear tree.
Women in sky-high heels and men in shiny wingtips begin to fill around the city with sound. The clacking of their expensive shoes is deafening.
The city is dressed in black, grey and cream colors except the fashionable coworkers that wore pastel colors every once and a while.
Every Starbucks is full now and every copy of the Washington Post is gone.
One customer orders a tall caramel iced coffee with room for cream and one other orders a tall skinny latte, a grande dark roast, a venti dark roast with half and half (if there isn't half and half left whole milk is fine), a venti cappuccino, a trenta salted caramel hot chocolate (they don't sell that in a trenta but if you ask nicely they might make it) and a venti iced-tea lemonade.
The second customer has gotten two of the six drink orders wrong.
A tourist sits down in front of Capitol Hill abruptly aware that there are cameras watching them him at all times.
Around the Capital things are calm and then they aren't. The birds that sit in the seasonally dormant trees grow increasingly louder as a helicopter flies by. A couple police cars pass by and an ambulance is just a block behind. A flutter of journalists and interns has passed by. And then everything is silent again.
Someone just had the idea to protest at the Supreme Court this week and is wondering how they get a permit for that.
Everything has scaffolding on it, that has to be a metaphor for something.
The Museum of Natural History has at least 10 different schools having tours around the same time.
Someone thought they saw Obama walking by a window at the White House. That person told all their friends about this later.
The National Gallery of Art is featuring Marc Chagall but people are sticking around the Van Goghs instead.
Someone has just gotten lost around Dupont circle while simultaneously another person has just discovered that the east to west streets are lettered, the north to south streets are numbered and the diagonal streets are states.
Four people are late for a meeting because a motorcade passed by.
At the Air and Space Museum a kid just lost his damn mind.
An older woman fell asleep at the United States Botanic Garden in the jungle section. It is very warm there, it's completely understandable. No one has woken her up yet.
There is a long line at Georgetown Cupcake.
Twelve people are looking for a parking place, 100 percent of them are going to end up parking two blocks away.
Ten other schools just headed towards the Lincoln Memorial.
The other memorials are getting jealous.
Maybe Lincoln wants some time to himself.
The Kennedy Center is filling up for a new show.
An older man with a camo jacket and a short grey beard is crying at the Vietnam Memorial. He is touching one name towards the end of the wall. He thinks it should have been his name.
The Cherry Blossoms are just about the bloom, everyone says so.
It's 5:00 p.m. and there is a new round of traffic.
A transplant just finished moving into a closet of an apartment for $1,000 a month.
If people are home they have finished dinner and are starting on Fox News or the Daily Show. Or they might settle with CNN.
It's time for the last class at Georgetown.
It's 10:00 p.m. and alcohol was no longer being sold.
Maybe they are out at Poets and Prose.
Maybe a rich friend was holding a dinner party in a brownstone.
Maybe they wandered into the wrong quadrant and are now desperately lost.
Maybe they are at a political or NGO gala.
Someone was just forced to take a cab home.


EN Fancy an evening loaded with Street Photography? It is happening again! On the 21st of April, up to 12 photographers of Street Photography Luxembourg (SPLux) show their latest artworks in a 5 minute slideshow featuring individual background music. This makes each slideshow a unique experience.
After 5 years our Slide Night is for the first time part of the European Month of Photography (EMoP). To highlight this special occasion, Street Photography Luxembourg invited 4 outstanding artists (Véronique Kolber (LU), Sven Becker (LU), Nils Jorgensen from in-public (UK), Kristin van den Eede (BE) to join us at the Slide Night 2017.


New Delhi, Nov 8 (KNN) The Directorate General of Foreign Trade (DGFT ) has allowed exports of certain items such as push backs and locks that are used in the jewellery-making industry.
DGFT notification said it has been allowed to export findings like posts, push backs, locks which help in collating the jewellery pieces together, containing gold of 3 carats, and above, up to a maximum limit of 22 carats only from domestic tariff area and EOU/EHTP/STP/BTP units".
"Gold jewellery including partly processed jewellery and articles including medallions and coins (excluding legal tenders coins), whether plain or studded containing gold of 8 carats and above, up to a maximum limit of 22 carats," the notification added.
"The findings like posts, push backs, locks which help in collating the jewellery pieces together, containing gold of 3 carats, and above, up to a maximum limit of 22 carats," it added.


text:
Q: What directory path to set in geoserver for Neo4j data source? I have installed neo4j spatial in my Geoserver2.6 and now I am trying to see an example of a database.
I created in geoserver a workspace and then I want to add a new store. I select the neo4j store but then I don't know what to put in the field "Connection Parameters" (The directory path of the Neo4j database).
Till now I was using postgis, which you add the host name and the port.
What should I put in this field?
Any help will be mostly appreciated.
Thanks
D.
EDIT:
I found out that the directory path must have this form:
     file:C:/Program Files/NEO4J_HOME/neo4j-community-1.9.9/data/graph.db/neostore.id
The path points to the neostore.id file inside the database.
The problem remains. Nothing happens when I select the save button in geoserver.

A: The original wiki that contained the answer to this was shut down a while back. But there is a copy at http://oss.infoscience.co.jp/neo4j/wiki.neo4j.org/content/Neo4j_Spatial_in_GeoServer.html. This is old information, but should still contain the answer you are looking for.

redpajama_set_name: RedPajamaStackExchange


WAIT… BRIGHTON, BABY! We are also selling through Merlin & Ellis, a cute boutique in the heart of Brighton's trendy Kemp Town area. 9 Manchester Street, Brighton BN2 1TF. Use the car park at Morrison's, accessible via Dorset Street. And say hi to the shop's owner Ellis from us!


ECHO BEDS JOIN THE FLENSER, ANNOUNCE NEW ALBUM + MUSIC VIDEOBuried Language is due out August 17th, watch the video for "Still Body" below.
Denver-based industrial duo Echo Beds  began as a one-off live set played in a local warehouse in 2010.   Sensing immediately that they'd only scratched the surface of their  potential, the duo (comprised of Keith Curtis and Tom Nelsen) began  experimenting with hand-built instruments and manufactured sounds—such  as recordings of broken glass and a metal filing cabinet—in order to  explore and interpret the sounds of industry as a sonic landscape.
Their forthcoming sophomore full-length album, Buried Language (due out August 17th on The Flenser [pre-order]),  should be viewed as a kind of exorcism steeped in metaphor and brimming  with social commentary. The album title references widespread  overnight evictions and boarded-up rehearsal spaces/ DIY venues across  the country; it deals with a lack of transparency, and is the  culmination of all the heartbreak, frustration, grief and rage and the  cyclical nature of DIY space closures. Left to our own devices, we start  over in a new underground.
Watch a music video for the album's first single "Still Body" today via Self-Titled Magazine.
This inspiration stemmed from incidents in December of 2016, when Echo Beds  suddenly found themselves locked out of their rehearsal space. Their  gear was being held hostage as city officials all over the country  cracked down on unsanctioned artist collectives and the various DIY  structures where many outsider creators lived and worked. This weighed  heavily on the duo, who spent the next 8 months experimenting and  writing the material what would become Buried Language in their living rooms. Deprived of their usual tools, Echo Beds  was forced to improvise using unfamiliar electronics and various  cobbled together devices in order to flesh out the embryonic ideas. With  the plight of their colleagues fresh in their minds, these new working  conditions served to shape the industrial landscape of Buried Language.


Years & Years - King remixes. Listen and stream remixes of King for free! Free streaming is available for King official remixes, promotional mixes and also unofficial and bootleg remixes. High Quality MP3 (320kbps) and WAV (1411 or 2116kbps) are available for downloads.
If you like King from Years & Years, do check out tons of other Years & Years remixes here.
dirrtyremixes.com has the latest, newest, and the most exclusive house remixes from all over the world and has been the number #1 destination for all DJs, remixers and remix lovers everywhere. These mixes are also available on itunes, beatport, sharebeast.com, zippyshare.com, filesharing site, filetube.com, filemonster, soundcloud, audiomack, mixcloud, yousendit, sfshare, nitroflare, filediva, rapidshare, rapidsharesearch, turbobit, youtube.


text:
package com.amazonaws.services.waf.model.transform;

import static com.amazonaws.util.StringUtils.UTF8;
import java.io.ByteArrayInputStream;
import java.io.ByteArrayOutputStream;
import java.io.OutputStreamWriter;
import java.io.StringWriter;
import java.io.Writer;
import java.util.Map;
import java.util.List;

import com.amazonaws.AmazonClientException;
import com.amazonaws.services.waf.model.*;
import com.amazonaws.transform.Marshaller;
import com.amazonaws.util.BinaryUtils;
import com.amazonaws.util.StringUtils;
import com.amazonaws.util.StringInputStream;
import com.amazonaws.util.json.*;

/**
 * TimeWindowMarshaller
 */
public class TimeWindowJsonMarshaller {

    /**
     * Marshall the given parameter object, and output to a JSONWriter
     */
    public void marshall(TimeWindow timeWindow, JSONWriter jsonWriter) {
        if (timeWindow == null) {
            throw new AmazonClientException(
                    "Invalid argument passed to marshall(...)");
        }

        try {
            jsonWriter.object();

            if (timeWindow.getStartTime() != null) {
                jsonWriter.key("StartTime").value(timeWindow.getStartTime());
            }

            if (timeWindow.getEndTime() != null) {
                jsonWriter.key("EndTime").value(timeWindow.getEndTime());
            }

            jsonWriter.endObject();
        } catch (Throwable t) {
            throw new AmazonClientException(
                    "Unable to marshall request to JSON: " + t.getMessage(), t);
        }
    }

    private static TimeWindowJsonMarshaller instance;

    public static TimeWindowJsonMarshaller getInstance() {
        if (instance == null)
            instance = new TimeWindowJsonMarshaller();
        return instance;
    }

}


*Well paced itinerary *3-4 star hotels *Daily operated.
Opening Hours: Mon - Fri 8.30am - 6:30pm, Sat 10am - 4pm.
You are met by English speaking staff and transferred to your Hotel (3 to 4 star). The rest of the day is at your leisure.
Bus tour option 1 Palace Course visits: Gwanghwamun, Deoksugung Palace, Cheongye Plaza , Samilgyo, Jogyesa(Temple), Insadong - Changdeokgung Palace, Daehangno, Changgyeonggung Palace, Changdeokgung Palace, Insa- dong, Cheongwadae(the Blue House), National Folk Museum, Gyeongbokgung Palace & Gwanghwamun.
Bus tour option 2 The City cruise course: Bus leaves Kwanghwamun and stops at the following points. Duksoo palace, South Gate market, Seoul station, USO, Yongsan station, National museum, War memorial, USA army base, Itaewon (Shopping street), Crown hotel, Myongdong (Fashion and shopping center), Korean folklore town, Sofitel Ambassador hotel, National theater, Seoul tower, Hyatt hotel, Tower hotel, Shilla hotel, East Gate market, Taehakno, (Youth street), Changgyong palace, Changdok palace, Insa-dong antique street, Blue House (Presidential residence and office), National folklore museum, Kyongbok palace, Kwangwhamun.
Bus tour option 3. The Night view drive course: Gwanghwamun - Deoksugung Palace - Seoul Tower - Cheongye Plaza - Gwanghwamun.
Breakfast at hotel and unassisting transfer to Seoul station (10min) by taxi for your morning train to Gyeongju (4 hours 30 Min). Upon arrival at Geongju city transfer to Hotel by shuttle bus. The rest of day is at leisure with opportunity to rent a bicycle to look around Bomun Resort. Accommodation in 3 Star Hotel in Gyeongju.
Gyeongju was the ancient capital of the powerful Silla Kingdom for 1,000 years. Gyeongju has been designated a UNESCO World Heritage site and is often referred to a 'museum without walls' due to the numerous historic building, temples and artifacts present. Not to be missed!!!
After breakfast at your hotel you will be met by our driver / English speaking guide for a private tour of Seokkulam, Bukulsa National Museum, Anabji Pond, Royal Tumli Park & Cheomsungdae Star Tower. Transfer to Busan to check in to your hotel (4 star) with ocean view room.
Busan is Korea's principle port and second largest city, with excellent beaches, outstanding shopping and sightseeing opportunities.
After breakfast at your hotel you can join a city bus tour of Busan. Pay on your own (tour cost approx. £6.00). We will provide you with full detail and timetable at time of booking. The Hop on and off tour includes visiting the international ferry terminal, Commode Hotel, Yongdusan Park, Youngdo 75 square, Taejongdae, Jagalchi fish market and the International market.
Site seeing Course Option 2 - Haeundae beach visits: UN Cemetery, Gwangan Beach, APEC House and Haeundae Beach.
Transfer to Busan train station on your own by taxi to go to Seoul station by KTX (Blue speed train, approx. 3 hours). Transfer to hotel (15min) on your own and check in. Rest of day free at leisure.
After breakfast at your hotel you will join the Panmujeon Tour** which departure from Lotte hotel. The tour includes visiting Imjingak Freedom Bridge, Lunch Pamjunjjeon Check Point. Arrive in Camp Bonifas, Slide Briefing for Joint Security Arian Ballinger Hall, Join Security Area (JSA) Tour Advance Camp - Freedom Bridge House - Conference Hall -Military Demarcation Observation Post of visitors - Bridge of No Return. Return to Seoul and Lotte hotel where you are to take transfer on your own to hotel (taxi transfer to/from Lotte hotel approx. £16.00 each way).
** Wearing Jean, T-shirts, Sleeveless shirt, short pants, sandals, and mini shirts are not allowed on this tour. Formal or casual dress is kindly required and Passports should be brought. Your nationality, passport number and birthdays are informed in advance 10 days prior to departure day. In any circumstance that Panmunjom tour is not available due to military operation or meetings, the tour will be substituted with the Demilitarises zone tour (DMZ tour). The DMZ tour has the following itinerary: 3rd Infiltration Tunnel, Dora Observatory, Station, Unification Village on the way to Imjinkak Pavilion & Freedom Bridge.
Transfer to Incheon airport on your own by Limousine bus for your flight to UK (price approx. 15,000Won / £8.00).
Selections of quality accommodation in well furnished rooms with private facilities (1st Class, upgrade option available).
Group tour of Panmujeon or DMZ with English speaking guide.
Transfer one way to Busan hotel.
Train for Seoul - Gyeongju / Busan to Seoul.
International flights. We can also arrange your local airport departure, please enquire at the time of your booking.
Optional tours in Seoul & Busan.
Flights As agent of many airline consolidators, we can obtain flights in various class, with reputable airlines such as BA, Virgin, Air France, KLM, Lufthansa, Finnair etc. We will choose airlines for you depends on the availability unless you specify at the booking stage.
Other fact of our tour arrangement This tour is great for single travellers or couples who want freedom to explore Korea with minimal assistance. The tour itineraries are regularly checked and provides an ideal length of time to show you the sites, with free time to explore according to own interests. We will however assist in providing full details of tour pickups and timetables to ensure you have the necessary information to make your stay in Korea enjoyable.
You can be assured, we only operate using top quality English speaking tour guides.
Suitable for all age travellers.
The price shown are subject to confirmation and may be different in public holidays and festivals periods. The itinerary is designed according to the most updated information of flights schedules available, although occasionally the sequence in which cities are visited and duration of time spent in each city can change due to local conditions which are out of our control. The above itinerary highlights the main attractions that are to be visited each day. - We reserve the right to change or amend our tour itinerary to suit unforeseen events, ie due to heavy traffic conditions or bad weather. We reserve the right to change, amend or alter the itinerary, although we will act in your best interests to handle any amendments. Please refer to the booking form for detailed terms & conditions.
Thankyou to Korea Tourist Organisation for use of photographs in this web site.


text:
The Lost Voices of Moderation
As we witnessed scenes of killing and rioting in the Arabic and Islamic world this weekend over the burning of a Quran in Florida, it's easy to paint entire nations as extremist. Twenty-two people are dead, including seven United Nations workers and Afghan children. The sad part is that it appears that world events can swing from the extremism of one angry group to another. Were Terry Jones' actions hateful and bigoted? Of course, and more important, he was warned by individuals in the White House and the Department of Defense that his actions could instigate violence, and he did it anyway. In turn, religious clerics in Afghanistan incited angry mob violence. But the irony, often mimicked in our own political discourse in the United States, is that the voices of the moderates are lost in heady chants of those on the extreme right and left. I would argue in this insistence that even Hamid Karzai is partly responsible for the violence . Knowing that the United States government and...
Low Consumer Confidence Plus High Gas Prices Do Not a Recovery Make
It's worth revisiting this Robert Reich op-ed from two days ago in light of today's jobs numbers. Reich points out that while job growth has grown slowly though not at the rate needed for recovery, consumer confidence is at it's lowest since the Great Depression, largely because of the rise in fuel and commodity prices. What's even more ironic in all of this is that cash-strapped states are considering raising state taxes on gas to fund infrastructure projects while the federal government won't budge on the rate of 18 cents per gallon. The Wall Street Journal reports : Connecticut's first-year governor is proposing to raise the state tax on a gallon of gasoline by 3 cents and on diesel by 2 cents. Maryland's legislature is considering a dime increase for each. Officials in Nebraska, Hawaii, Virginia, South Carolina and South Dakota have considered proposals to raise gas taxes in recent months, according to transportation experts and information compiled by the National Conference of...
Latinos Pressure Obama on Immigration
Pressure around the issue of deportation of undocumented immigrants appears to be coming to a boil, the Associated Press reports. The anger comes from a statement by President Obama at a Univision town hall that he couldn't use executive orders as president. Obama had said that using executive orders "would not conform with my appropriate role as president." In 2008, the AP points out that Obama raised the issue of deportation as a matter of rights and dignity and a system that was broken. His comments at that time were in reference to violent immigration raids conducted by the department of Immigration and Customs Enforcement at meatpacking plants in Iowa, where children were literally separated from their parents. However, in what appears to be a form of concession with immigration activists, both the departments of Labor and Homeland Security "will refrain from conducting raids or doing other immigration enforcement activities if there's an ongoing Labor Department investigation at...
Who Are Libya's Rebels?
Aswini AnburajanMar 31, 2011
As reports come in that CIA operatives are aiding Libyan rebels and Western leaders are considering arming them, the question of who Libya's revolutionary force actually is -- is worth answering. Juan Cole at Informed Comment makes the argument that the fears that the Libyan rebels are either al-Qaeda members, Hezbollah members, or other revolutionary ne'erdowells is likely false. However, that doesn't mean we shouldn't establish a sense of who and what the rebels represent. Knowing thy allies should be as critical as knowing one's enemies, as the U.S. learned in supporting and arming Afghan rebels in the war against the Soviets in the 1980s. The BBC reports that Nato Operations Commander, Admiral James Stavridis, has said that there are "flickers" of al-Qaeda activity among the rebels, but overall there's a question mark in who these individuals are. Jon Lee Anderson for The New Yorker writes on his take of who the opposition in Libya is: Significant questions remain about the...
The Realities of War Reporting
When I first joined NBC in 2005, I had a dream of going to Iraq and becoming a rising star. It was a formula that had made many other journalists before me leading commentators on world events including Richard Engel and Lara Logan . At that time, young journalists had flocked to the country and were reporting, writing stories, and sharing beers at the end of the day in a camaraderie that I've only seen mirrored in disaster areas and on the campaign trail. And then it got violent, and I still wanted to go, and voiced all my thoughts to a senior correspondent at NBC who was a veteran war reporter and back for Christmas from Iraq. He encouraged me, and I let his words kindle my hope for dreams of adventure and journalistic glory even more. And then he told the senior foreign news producer at Nightly News, who called me into her office and smacked down those dreams with a grim reminder of the realities of war. I was reminded of that incident again as I reviewed the commentary from four...


Database giant Oracle Corporation has announced the general availability of its Blockchain Cloud Service, which has already been taken up by a number of organisations.
A statement from the company said among the early adopters were Arab Jordan Investment Bank, CargoSmart, Certified Origins, Indian Oil, Intelipost, MTO, Neurosoft, Nigeria Customs, Sofbang, Solar Site Design and TradeFin.
Oracle's blockchain platform is built atop The Linux Foundation's Hyperledger Fabric. It is pre-assembled with all the underlying infrastructure dependencies, container lifecycle management, event services, identity management, REST proxy, and a number of operations and monitoring tools integrated under a single console, expediting the set-up and application development process.
The service is an Oracle-managed cloud platform backed by a 99.95% availability service-level agreement, with built-in high availability configuration, autonomous recovery agents, as well as continuous ledger backup capabilities that can enable multi-data centre disaster recovery across availability domains.
"Blockchain promises to be one of the most transformative technologies of our generation," said Amit Zavery, executive vice-president, Oracle Cloud Platform.
"We are excited to announce the availability of Oracle Blockchain Cloud Service. It is the result of years of R&D alongside our valued partners and customers.
"With Oracle's platform, enterprises can enhance their business, eliminate unnecessary processes, and transact with their distributed networks more easily, transparently and securely than ever before."
Hyperledger executive director Brian Behlendorf said: "Companies are increasingly testing and seeing the value blockchain technologies can offer their organisations, from streamlining internal processes to building trusted networks with partners, customers and third parties.


This 3/16" gauge loom is perfect for making Adult Socks (approximately womens 8-10, mens 7-9) using #1 xfine yarn. Sizes will vary depending on yarn, stitch, and tension. Make sure to follow the Making Socks that fit video to measure which loom you need accurately.
Loom Details: Gauge 3/16" spacing,72 pegs, Diameter: 5 1/4"


text:
Interview: Deru on Memory, Pico Projectors, and His New Album
The Friends of Friends producer talks with filmmaker Anthony Ciannamea about their new immersive album project.
Benjamin Wynn / Mark Wisniowski
You never know when or where inspiration will strike. For Benjamin Wynn, AKA Deru, it was at a yard sale in California in 2003, where he discovered a mysterious collection of articles, letters, and photographs that once belonged to a man named Jackson Sonnanfeld-Arden. The documents outlined Sonnanfeld-Arden's strangely compelling theories, looping new-age mysticisms into early quantum physics. These artifacts provide the thematic underpinnings of 1979, out now on LA-based label Friends Of Friends.
The project is nothing if not ambitious. A collaborative effort between Wynn, filmmaker Anthony Ciannamea, designer Mark Wisniowski, writer David Chun, and others, 1979 is made up of audio, video, design, literary, and interactive components. Its centerpiece is The Obverse Box, a hand-held projector designed by Wynn and Winoski that contains the nine-track album and its accompanying videos. There's also a website offering reproductions of the original documents and an expanded mythology, as well as an interactive gallery that listeners can submit their own photographs and text to. It's an extraordinarily generous project, providing hours of material to explore and the mechanisms to generate more.
Wynn and Ciannamea shared their reflections on the project's genesis and how technology is changing the ways we catalog our memories.
Tell me about The Obverse Box.
Benjamin Wynn: It's a hand-held pico projector filled with my album, attached to a video for each song. We're treating it like a time capsule, this holder of memories – collective memories – and one of the cool things about projectors in that capacity is that these memories can come alive. If you project onto glass, or fabric, or drapes, or the ceiling, it very much changes your experience with what it's projecting.
Memory is a central thematic element of this whole project. Why did you want to base the project around exploring this theme?
Benjamin Wynn: I think there are a couple of reasons. One is that the music felt very human to me, very nostalgic and emotional, and it reminded me of scenes from my past and my youth and just sort of basic human emotions. The other was finding the time capsule itself, this box that I found in Glendale filled with this person's life and documents and memories and photos and papers and stuff like that. I think it was a sort of combination of me writing this music that felt very emotional and human to me, coupled with wanting to turn it into something bigger that was also focused on our memories.
Could you give me a bit of a timeline for the project? I know you found the time capsule in 2003 – when did you start recording?
Benjamin Wynn: Much later. The music didn't start until about a year and a half to two years ago and happened over a pretty short amount of time. I got Anthony and everyone else involved pretty much around that time as well. About two years ago, right Anthony?
Anthony Ciannamea: Yeah. It was about two years ago. Ben sent me this whole set of songs that he was like, "Look, I just bounced these to tape. I think I want to release an ambient album. I've been meaning to do this for a long time and it's inspired by memories."
There's a lot of different people that worked on this whole project. I found myself taken with the... I guess you could call them liner notes – the mythology portion of the website. That was done by a guy named D.S. Chun, am I right about that?
Anthony Ciannamea: Yeah. David is a writer in LA. I met him through a blog that he invited me to contribute to. I was reading these short fiction pieces he was writing and I showed Ben and we knew this was the guy we need to help us weed through all these documents and letters and things that we found and kind of try to make sense out of it. Or at least try to re-contextualize and tell a story from it, even if it's an incomplete fragment of some bizarre history.
Music is something that I put so much of myself into that I feel much better if I get... something, a memory, anything back in some sort of meaningful exchange.
Benjamin Wynn
Benjamin Wynn: He brought so much to the project that we couldn't have done without him. His ability to pick out narratives and connect the dots was amazing. I think this whole project and the beauty of it for me has been that once Anthony and I decided that we wanted to make it into something bigger than an ambient album on Bandcamp. It just kept on snowballing. In the beginning, when we decided to make a hand-held projector, we had these very early images. One of the earliest images I had was of a boy digging up the time capsule in the backyard and then it gets re-buried, the idea being that it's been there for generations, or potentially has. Once we had that established, once we had this whole theme of memories, it just allowed so many... this project could have gone in so many directions, and is still going in so many directions. I think it's because that initial idea was large enough to let everybody in.
Anthony Ciannamea: When I got involved with it, I saw myself in a role of taking these spare pieces and making it a cohesive story. Because we're pulling from all these different sources of inspiration that are all related to one another, but also somewhat unrelated, at face-value. We have the contents of the box, Ben's focus on memory and nostalgia in his own life, and then kind of weaving those things together to create a visual history of it and make it something that's easily digestible for the internet generation. Not easily, I mean, it still requires some attention...
Benjamin Wynn: The thing that I'm proud of with this project is that I think we managed to tell a story that, no matter how you want to consume it, is cohesive and enhances every other aspect. For instance, even the galleries of memories online – that was sort of a reaction to something that I never felt great about, which was just giving away music. Music is something that I put so much of myself into that I feel much better if I get... something, a memory, anything back in some sort of meaningful exchange.
Anthony Ciannamea: Yeah, that was really important to you early on, actually. That was one of the first things you said when you sent the album over, that you were thinking about asking your audience to give you something in return for the album.
It strikes me as a project that you get as deep into as you want to, and everyone's experience with it will be really unique. I listened to the record just walking around Toronto and then listened to it again today while reading through all of the mythology and it feels very different depending on how you approach it, which I think is really cool.
Benjamin Wynn: That's one of the things I've always loved about music and art in general. When you put it out in the world you can't imagine how it's going to be consumed, you can't control that and that's part of the beauty of it. Art becomes so contextualized with whatever it is that happens to be going on in that person's life. I remember being in Spain driving along the coast and the music that I was listening to on my headphones will be forever associated with that moment, you know?
That's actually what my name, Deru, means. It's an Indo-European root of words like duration and tree, and I love the idea that with trees you kind of, like, grow roots with all these different people around the world that consume whatever it is that you're putting out. Each one of those experiences is totally unique but it combines to form this thing that's greater than all those parts.
I think more now than anything, we fetishize those artifacts. Every app on your phone is designed to make it look like it came from the last couple of decades.
Anthony Ciannamea
Part of that, too, is that I feel the experience of listening to music has been diminished within the last five to ten years, in that now that we have the access to every song ever made within a second, there is less patience given to the experience. That's another thing that this projector tries to do, is bring an experience back to listening to music. One of the really great things about pico projectors is they're the best when you turn off the lights and get ready to explore. You prepare to watch them, to have the experience. I think that that preparation puts people in the best frame of mind to listen to music in the first place, which is great.
A lot of the video clips on the website use found footage, Super 8 clips – those would have all been made with purpose-specific pieces of technology. Even ten years ago, a home movie was being made on a device that was being used specifically to shoot home movies. Now, we've bundled all of our tech into devices that you listen to music on, do your banking on, make your phone calls, take your photos, shoot your home movies – how do you think that's changed the way we use technology? Do you think we've lost something in that bundling?
Anthony Ciannamea: I think more now than anything, we fetishize those artifacts. Every app on your phone is designed to make it look like it came from the last couple of decades. There's also this, like, social fetishization of remembering the terrestrial thing that those artifacts actually meant for those formats. Hearing that tape just reminds you that it's electricity and magnets...
Benjamin Wynn: Yeah, it's analog. All those things are defects that affect the sound or the image or whatever it is. They impart their own personality onto it, and I think that that will continue.
Anthony Ciannamea: The format though, is really inconsequential when you think about it, especially when you're talking about content creation. It doesn't matter that my thing combines all these purposes versus fulfilling one purpose. The thing that's changing most is the consumption side of it. One of the things we risked with this idea was it being too simple. Every Thursday we look at photos on Instagram, Throwback Thursday, but rather than doing that, rather than seeing 500 photos an hour, this project is about slowing it down. It's about being able to literally just engulf yourself in the beauty of those analog artifacts, just, like, right on your face, close-up. You'll see it manifest itself digitally in the projector videos, as well.
Benjamin Wynn: It might sound really pretentious but I think that the gallery is mainly for the people that upload. When I started this project I went and looked through all of my old photos, and that's just an amazing experience, it's something that people should do every once in a while. I think that going through your old photos and picking one out and writing about it is a really valuable thing to do, and it's more for that person than for me or this project. There's something that's powerful that happens when you get a whole collection of those.
How do you think the technology we're using today is changing the way we remember?
Benjamin Wynn: I think that we're documenting much more, and I think that does change the way you remember things. Memory isn't perfect. It's fluid, I should say, so I think it depends upon your situation, your context, your reason for trying to remember it. Those all change what your memory actually is. Having much more documented probably does change that in a way, but it also might make us remember more. I mean, seeing a photo of an event doesn't give you the memory of it. It kind of triggers the memory, but it doesn't trigger the emotional context, necessarily. It doesn't give you all these other details. I think it can help, but it doesn't fill it all in.
I think one of the problems that we might have is now there's so much more information, how often do we actually go back and look through it, or organize it, or archive it in any kind of way? The beauty of having Polaroids or film is that you go into a box and sitting there, and this is all just going to be sitting there unless it gets lost, so it's much easier to consume, I think.
Anthony Ciannamea: I want to actually argue the opposite. I would say that the consumption part of it is way easier because you don't have to physically go to get it out of the closet. You have it at your disposal at all times. Because of that frequency, the granularity of memory is much greater. The quality might not be and physicality might not be, but definitely the frequency makes it so that the granularity of memories is way, way greater. It's not as sacred anymore, though. Going in and finding those Polaroids is sacred because you can touch them and you just want to put them up on your wall. That's the exact dividing line for why we made the projector instead of an app or something – valuing the object of documented memories over the frequency in consumption speed.
Benjamin Wynn: That's the part that I'm ruminating on right now, is that memories are really two things – it's a trigger and then a response. Now we have way more triggers, and I guess we'll have just as many responses.
It may be that when you're beset by so many triggers, your response reflexes will be overwhelmed at some point.
Anthony Ciannamea: It's totally reflexive, too, if you think about it, because the fact that we have access to this volume of real-time, visual things, it's taken us out of reality because we tend to view things through the small window in our pockets or on our desktops. I mean, there's no shortage of opportunities in life to make memories even if you are an iPhone addict like we all probably are, but reflecting on them... it changes our attention span.
There are still some elements of the project yet to be revealed. You're going to be touring the work, which I presume will have a strong visual element. Could you talk about your plans for the live show a bit?
Anthony Ciannamea: I think the same way we made it a goal to put the music out there as a physical object, we want to make the live experience feel like there's the presence of physical ephemera. Our goal is to create a dimension in the stage set-up that uses real optical manipulation. I'm going to be performing with light the same way Ben is going to be performing the music, and that's kind of the centerpiece of the live show. From a video perspective, I don't know how to describe the content other than it being a meditation on all of the footage and memories and things that we've collected over the course of the project. It's really going to be the real world, three-dimensional, physical embodiment of that. Really focusing on structure and grain and very fundamental light-shaping.
Benjamin Wynn: We're trying to put the same spirit that happens when you hold one of these projectors in your hand into the live show. What's most fun about holding one of these projectors is playing with it, making the image an inch small and projecting it on a wall, or projecting it through glass, or through prisms, onto rain, onto fire... It very much changes your experience, and when you hold one of these things, that's just what you kind of naturally do. I hadn't actually had this experience until I started this project, holding projected light in my hand. It's been around forever but it's not something that a lot of people do, and it's kind of magical in my opinion. We're trying to place that same emphasis in the live show as well.
One of the goals we've been going for with this project is to keep it lo-fi and physical. It's like a combination of technology that could have existed in the 1900s and modern technology. We're going to try and bring some of the analog warmth back into the show.
How does that dynamic make itself felt in the music?
I hadn't actually had this experience until I started this project, holding projected light in my hand.
Benjamin Wynn: The songs were almost little meditations for me. They were almost like sound poems. They're very simple. They have few elements, they evolve slowly, they explore one idea and then they're done. They're like these little moments in time, almost like a memory. They're not overly complex and I think that's their beauty. For me, one of the challenges was believing in that and not over-complicating it. A lot of times these songs would form in an evening, and maybe I would spend a week working on them, but lots of times everything I would try to do would just make them less good. I just needed to believe in that initial idea.
The other part was that it was a little bit freaky because I had never released music this naked before, this pared down and simple. There's no nice sounding kick drum and there's no snare, and there's nothing that I can feel comfortable hiding behind.
The decision to record these to cassette tape, that was kind of a catalyst for the whole thing. I'd been scouring Craigslist and eBay for old cassette tapes, and four-tracks, and reel-to-reels, and I just happened upon this one tape deck that has a warble to it. Everything you put into it, when it comes out... it just sounds like memories. It's very emotive. I very purposefully enhanced the bad qualities of tape. Well, not the bad qualities. What am I trying to say...
The tapeness.
Benjamin Wynn: Yeah. I enhanced the very things that made it tape, that made it that medium. Like we were saying, the poor qualities of tape are what make it appealing to us now, so I brought those up.
We're far from alone in recognizing or correlating the tapeness of sound with memory. That's what playing music back sounded like when we were younger. For kids that are 13, 14 or whatever today, what do you think will be their version of tape hiss? What sounds will they correlate with memory?
Benjamin Wynn: Yeah, I don't know. It might be like 128-bit MP3s. You know what? It will still be vinyl honestly. Vinyl will be around for a long time.
Anthony Ciannamea: There's a small amount of people who love the sound of old samplers right? The digital crunch.
Benjamin Wynn: Yeah, I think that every time, I think that it's a little bit hard to say because I think as technology moves on, everything improves. Maybe we'll be able to experience much more bass as the microphones improve, and the speakers improve, and the fidelity of all things improve. I think that we become nostalgic for things that have less fidelity in any form.
By Adam Wray on June 25, 2014
Industry Rule #4084: Peaking Lights
Gallery: Sónar Festival 2012