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Welcoming Sharon Williams to the Seattle Arts Commission
January 27, 2014 by Annie Holden Leave a Comment
Sharon Nyree Williams has been recently been appointed by City Council to join the Seattle Arts Commission. Williams currently is the Managing Director for the Central District Forum for Arts & Ideas. A Seattle resident for past thirteen years, previously Williams was the manager of budget and operations for Seattle University's College of Nursing. Over the past ten years she has served as stage manager, research assistant, production assistant and producer for several performing arts organizations in the Seattle area. In 2006, she founded the collaborative arts organization The Mahogany Project. Sharon is also a playwright, filmmaker, solo performer, and producer. She has written and performed in several solo pieces: The American Dream, Homelessness: Driven – Spirited – Broken, Plight: I am my brother's keeper and Circles of Life. Sharon co-produced the short film What About Us which has been screened at film festivals throughout the U.S. She has also worked as a teaching artist with Freehold Theatre's Engaged Theatre Program for the Washington Correctional Center for Women.
The 16-member Seattle Arts Commission is comprised of citizen volunteers appointed by the mayor and City Council, supports the Office of Arts & Cultural Affairs. Seven commissioners are appointed by the mayor, seven by the City Council. One additional member is selected by the 14 appointed members, and another commissioner is selected through the YMCA's "Get Engaged" program, which connects young adults with city boards and commissions.
The next meeting of the Seattle Arts Commission is 4–5:30 p.m on Tuesday, Mar. 11, 2014, in Room 4050-60, Seattle Municipal Tower, 700 Fifth Avenue. Arts Commission meetings are open to the public and occur every second Tuesday of the month from 4-5:30 p.m. – come welcome our new appointee!


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Open Roads: New Italian Cinema at Lincoln Center 2022
Thread: Open Roads: New Italian Cinema at Lincoln Center 2022
GENERAL FILM FORUM THREAD
Links to the reviews:
The Code of Silence/Una Femmina (Francesco Costabile 2021)
A Girl Returned/L'Arminuta (Giuseppe Bonito 2021)
The Inner Cage/Ariaferma (Leonardo Di Costanzo 2021)
The Legionnaire/Il legionario (Hleb Papou 2021)
Leonora Addio (Paolo Taviani 2022)
On Our Watch/E noi come stronzi rimanemmo a guardare (Pif 2021)
Swing Ride/Calcinculo (Chiara Bellosi 2021)
Unfinished/Il palazzo (Federica Di Giacomo 2021)
GIUSEPPE BONITO: A GIRL RETURNED/L'ARMINUTA (2021)
CARLOTTA DE LEONARDIS AND SOFIA FIORE IN L'ARMINUTA
A girl adopted by cousins is returned to her poor country parents at the age of thirteen and has to adapt
Giuseppe Bonito's third outing as a director is a film adaptation of the 2017 Premio Campiello-winning, bestselling novel L'Arminuta (the original film title) by Donatella Di Pietrantonio, which was translated into English by Ann Goldstein, the translator of Elena Ferrante. The story works well on screen because of the simple narrative structure and the clarity with which it is filmed. It transpires in 1975, mainly ih the rural part of Italy's Abruzzo region east of Rome; the title "L'Arminuta" is Abruzzese dialect for "the returned one," and it refers to the young teen protagonist.
An Italian review site, MyMovies, explains that after the Sixties Italian economic boom, town and city life had speeded up, but in the country a "heavy backwardness" persisted. Hence the custom, which the author says still persists, of farming out children from country to town. This time "L'Arminuta" (Sofia Fiore), a poised, tall girl with long red hair, at the age of 13 is brutally "returned" to a harsh life with her biological family that she has never known. The film unreels scenes of this shocking new life.
Well educated and raised as a cosseted only child, "L'Arminuta" learns her "mother" was her aunt. Now she must sleep in one room with two brothers and two sisters, all uneducated, and expected to do farm chores or day labor. At the table, nobody speaks. Finally her birth mother (the perpetually sad Vanessa Scalera, whose downturned mouth is like Jeanne Moreau's) explains some things. why the girl has been "returned," like a package in the mail, doesn't come out till later, and can never really be justified. But there is soon fun in an aerial ride at a country fair where the 18-year-old older brother, Vicenzo (Andrea Fuorto) wants to run off again with the gypsies who operate it, for which his father smacks him and whips him with his belt.
Vincenzo develops an inappropriate interest in "Larminuta." Fuorto makes the sweetest of incestuous predators - whom tragedy prevents from going too far. Younger sister Adriana (Carlotta De Leonardis) bonds with "L'Arminuta" and looks up to her. They sleep in the same bed head-to-toe. At 10, Adriana is still a bed-wetter, but for "L'Arminuta" this relationship is sustaining. So is the fact that at the local school, "L'Arminuta" winds up being the best student, winning a financial prize for writing a science fiction story - about 'an alien,' like her, also a compensation.
Our expectation of a grim Dickensian tale is deceived from the start with the sequences of fairground fun and later a bright-colored seaside visit with Vincenzo and Adriana, to near where the girl grew up. She finances it with one of the envelopes of money her adoptive mother Adalgisa (Elena Lietti) sends her - but never a note. True, "L'Arminuta's" birth parents' have an impoverished life; but it's not that impoverished. They have a tiny car, for instance. The way in which a visit with Adriana to her adoptive mother and her new husband, with their new baby, puts paid to that whole episode is elegantly ironic and neat - as befits this film's short, economical novel source. And this is a neat, economical movie. It was the only Italian film included in its year's Rome Film Festival.
It's awkward to have to keep repeating "L'Arminuta," but the author, Donatella Di Pietrantonio, wants to hammer home her point that this "package" girl, shipped back and forth, has been robbed of a real identity. In "Goodreads," where everyone is admiring of the book, someone thinks the protagonist deserved a name. Another issue, apropos of the incestuously predatory older brother, is, who is this written for? You can't put that in a YA novel, someone says. It's in limbo, like its protagonist.
The bright, pictorial cinematography is by Alfredo Betrò. Monica Zapelli collaborated with the author on the screenplay, which captures the economy and richness the "Goodreads" contributors speak of. Their success is marked by the fact that this movie feels short and swift despite being close to two hours long.
A Girl Returned/L'Arminuta, 110 mins., debuted at Rome Oct. 15, 2021, and won the David di Donatello Award for Best Adapted Screenplay. It was screened for this review as part of Lincoln Center's Open Roads: New Italian Cinema festival, June 2-15, 2022, where it will be shown Jun. 11 at 2:45 and Jun. 14 at 6:30.
FRANCESCO COSTABILE: THE CODE OF SILENCE/UNA FEMMINA (2022)
LINA SICILIANO IN UNA FEMMINA
Dark explorations of a fearless girl
Francesco Costabile's first feature in a way couldn't be more Italian, if Italy to you is the south and the mafia. The focus is Calabria, and the entire film is in thick Calabrian dialect. In the foreground is a young woman, Rosa (the deep, dark, heavy-featured Lina Siciliano; Mauro Donzelli of the Italian film site ComingSoon speaks of her "antique face"), who wants to explore or expose the past, pull away the dark curtains of her mother's mysterious death when she was a young girl. Rosa is supposed to be still only a teenager now, but her dark Mediterranean features carry a weight that makes her seem older, even ancient. Maybe she already knows everything she wants to find out. Hovering over all, the family and formerly warring clans that have held a truce till now, is La 'Ndrangheta, the Mafia's local version and the code of omertà, not telling, shared silence.
The beauty of the dark images of dp Giuseppe Maio makes up - for a long time, anyway - for the paucity of information and the tendentiousness of the scenes, which at first are little whispered chiaroscuro sketches, expand to big, dark, ceremonial encounters. The sepia hazes and early scenes half out of focus are at once threatening and sensuous. For a while the campy chiaroscuro made me think of Visconti's 1965 Sandra/Vaghe stelle dell'Orsa, though that film tells a very different and much clearer story. Midway the screen opens up to a building in flames, a barn provocatively torched, and it's magnificent after all the darkness and the claustrophobic black-clad figures. Costabile fetishizes repression by how beautiful he makes the darkness and the silences. I thought of some old-timey, grandiose comic book, "Prince Valiant" perhaps, as well as Phil Tippett's recently released Mad God. When it reaches a fever pitch of gruesomeness, it could evoke the American photographer of death, Joel-Peter Witkin. It's soporific, but it's also hypnotic, mysterious and terrifying, even though Rosa seems afraid of nothing.
Rosa's question-asking is an act of rebellion, which links her with her vanished mother, who evidently was guilty of some infraction that required the ultimate wiping-clean. The scenes of the film depict repression being pushed back against, with the threat of something about to explode. Things do explode in the second half, the long-repressed feuds breaking out again in an orgy of revenge touched off by Rosa's revenge for the death of her mother. Rosa disrupts the established power structures: one is the longstanding truce between her uncle Salvatore (Fabrizio Ferracane) and his arch-rival Ciccio (Vincenzo Di Rosa), which the vengeful Rosa secretly sabotages. By then she has become such a heavy dude, the enemy capo wants her. And in the final shot, as Rosa enters a tunnel shot leading to a cosseted car ride, he may have gotten her; or is she turning state's witness? At least she has already lost her rough gamine look and become sleek and soignée. But nothing very clear has happened. Costabile has proved good at atmosphere and great at moody visuals but a washout at telling a coherent story.
This was all "freely inspired" by the book by Espresso magazine investigative journalist Lirio Abbate, Fimmine ribelli. Come le donne salveranno il paese dalla n'drangheta, "Rebellious Females. How Women Will Save the Country from the 'Ndrangheta." (The convoluted plot thus "inspired" is by screenwriting duo Adriano Chiarelli and Serena Brugnolo, reportedly with some involvement by Abbate.) But does Rosa 'save' the country from the Calabrian syndicate, or join it? Costabile's film apparently chooses to use the book and his formidable female protagonist in mainly atmospheric, ambiguous, ambivalent ways. He's an artist, half in love with easeful death, and not a muck-raker. Muck is the medium he paints with.
The Code of Silence/Una femmina, 120 mins., debuted at the Berlinale Panorama section in Feb. 2022 and opened theatrically in Italy then also. It was screened for this review as part of the 14-film Jun. 9-15, 2022 FLC-Cinecittà Open Roads: New Italian Cinema series at the Walter Reade Theater.
Saturday, June 11 at 5:30pm (Q&A with Francesco Costabile)
UNFINISHED/IL PALAZZO (Federica Di Giacomio (2021)
FEDERICA DI GIACOMO: UNFINISHED/IL PALAZZO
STILL FROM IL PALAZZO
Celebration of a Roman movie director who died without ever completing a film
The late Mauro Fagioli is the absent subject of this film. It's for him the friends gather at his rooftop apartment in Rome in the opening sequence. They are members of an urban intellectual middle class, and it's an ample roof terrace - with a bathtub, in view of Saint Peter's, twenty years after their youth, to commemorate Mario, who recently died too young of... something. Early on we glimpse him, nude, boyish, a little chubby, briefly cavorting for a camera in an old film strip. In the present, they chat, they sip wine, and following Mauro's wishes they listen together to an excerpt from the Brahms' Requiem - and then take other routes toward reunion and remembrance.
It doesn't hurt that this is an artistic, intelligent branch of the Roman urban bourgeoisie featured in this documentary film. (One hates to call it that; it's meant to feel like the feature its subject was always ostensibly working on.) They are better looking - some of them, anyway - than their equivalents in other locations might be, and they still have articulate things to say. It is interesting, and the bemusement and dissatisfaction are glamorous. Mauro was never a success. But this memorial shows that, as Yeats wrote in a different context in his great poem To a Friend Whose Work Has Come to Nothing, a life is not wasted just because it's not complete in the world's eyes. (There is one sequence where Mauro's ample tombstone is lovingly tended, his spirit visited and appeased with cellphone music.)
In 2018 Mauro Fagioli died at the age of 47. For a long time he had been a recluse on the top floor of an apartment building ("palazzo" in Italian) in affluent Rome where he carried out his only activity, finishing the film of his dreams with material collected over a twenty-year period, hours and hours of peripatetic filming in which all his friends lent a helping hand. It's these same friends who're filmed gathering on the building's terrace to celebrate Fagioli's wake, remembering his unfinished task. Some of them have not seen each other for a dozen years, and they take this opportunity to revisit their common past and reconnect (or not). This film is a record of that reunion, of those people, and of Mauro and the many pieces of film he left dangling when he passed away.
The documentary by Federica Di Giacomo, already the author among other films of the 2016 Venice Orizzonti-prize exorcism documentary Liberami ("Set Me Free"), stands at an imaginary crossroads, suggests Paolo Casella in his review for MyMovies, (which I've borrowed from freely here), between Matteo Garrone's 2000 artist reunion film Estate Romana, James Franco's 2017 bad movie flick The Disaster Artist and Lawrence Kasdan's 1983 generational reunion classic The Big Chill, but recounted from within a specifically Roman world: that of aspiring filmmakers and the court that is created around them, as well as the sense of non-accomplishment some of those presently assembled also feel.
Gradually the cast of players is defined, though they appear casually, as in a film. There is a journalist who stubbornly demands the truth and calls Faggioli's work "meaningless delusions." There is the writer devoured by the bitter awareness of not having realized his own aspirations: but he is the co-author of this documentary, so he has finished something, even if he says he differs from Mauro only in still being alive. There is the disenchanted ironist who asks himself questions the audience will ask. There is the "crucifer" who has become the guardian of Fagioli's memory. Some of the men here live by expedients; one of them is a drunk. The women get down to work, but regret no longer being the beauties Fabioli's camera recorded as we see them in Mauro's much earlier film strips.
If these were fictional characters perhaps we would not understand their irresolution so well. But Di Giacomo, who was one of this original cohort herself, builds up the narrative arc of each of them in the editing, leaving room for surprises and revelations, only at the end partially reconstructing the puzzle of Fagioli's existence and his entourage. The director and co-writer manage to maintain a suspension of judgement, often colored by irony but never by derision, towards these characters, a number of whom seem "dedicated to failure." (There feels like something particularly Italian, perhaps even Roman about this. The cultural patrimony of Italy is overwhelming, and Mauro's terrace provides a view of the Vatican.)
There are meandering, almost Felliniesque segments, like the drunken amble on nighttime Roman streets, and the pair of women in elegant sun suits who go to the beach, only to have one of them announce she is fed up and is taking the Metro back. Now with a shock we see Mauro during his latter days. He had a vertebral problem and took heavy doses of cortisone and had become enormously, unnaturally fat. (Come to think of it, at this stage he could have been a Fellini extra himself.) We still don't know the cause of death, though.
In between some segments of film work only as disconnected vignettes. Perhaps they're like Mauro's except that they're recorded with live sound while he, we see, intended to dub his film in the traditional Italian style and so gives loud instructions during shoots, like the silent film directors, thereby getting to play the classic director role vividly, if in the end futilely. He shot himself directing these fragments, his performances.
With its meandering runtime Il Palazzo winds up not living up to its initial elegance and suggestiveness of the gathering of glamorous friends. Various segments involving the group after - or before - the terrace wake are too peripheral to the subject. Information about a man who owns apartments (in Mauro's building?) who sells them to finance art projects for the group is not quite clear. This gathering of scenes will make sense to the participants, but doesn't completely make sense to us.
Suppose Mauro hadn't had these physical problems and died at 47, would he have produced something? From the evidence provided, that's unlikely. He admits in one clip to having no interest in story or screenplay-writing: perhaps no interest in ever making a completed film. Maybe he was just saved by early death from the desultory old age his contemporaries will grow into. This film is the flavorful record of a small Roman community whose surroundings may be as oppressive as they are beautiful and gracious.
Unfinished/Il Palazzo, 100 mins., debuted Sept. 2021 at Venice Giornate degli Autori. Screened for this review as part of the FLC-Cinecittà series Open Roads: New Italian Cinema, shown June 9-15, 2022 at the Walter Reade Theater.
Sunday, June 12 at 2:15pm (Q&A with Federica Di Giacomo).
SING RIDE/CALCINCULO (Chiara Bellosi 2022)
CHIARA BELLOSI: SWING RIDE/CALCINCULO (2022)
GAIA DI PIETRO, ANDREA CARPENZANO IN SWING RIDE
The zoftig girl is not happy so she runs away with a fair
The feeble outsider-bonding picture Swing Ride/Calcinclo, the director Chiara Bellosi's second feature, fails either to achieve verisimilitude or to entertain; both characters and action are underdeveloped. The main trouble is the fifteen-year-old protagonist, an overweight girl called Benedetta (Gaia Di PIetro). The film doesn't define her situation clearly or work up enough sympathy for her. Benedetta's situation certainly feels sad. Like so many teenagers, she doesn't fit in. On the other hand Di Pietro seems perfectly comfortable in her body. Her mother takes her to a doctor at the beginning. The camera closeups on her body seem to want to make her seem monstrous. Later, when she appears head to toe, she seems both attractive and at ease in her body; still later she turns out to be a great dancer and a fast runner. Smaller kids yell mocking epithets at her from a distance once. But what her life is like at school there are no scenes to tell us. Clearly, she hides away in her room before she meets the outsider she bonds with.
Early on Benedetta's mother has her being weighed and given a strict diet. When the rest of the family noshes down at dinner, Benedetta gets a small salad she only picks at. At night she raids the fridge and consumes a whole package of raw chicken (happily we are spared seeing this play out). Yet earlier it's stated (1) that the problem's not hormones and (2) that she doesn't eat that much. This ill-definied situation is simply dropped, as the later plot line comes into play, the outsider-bonding.
But first comes the frustrating, inadequate family portrait. Mom, Anna (Barbara Chichiarelli) is resentful because she claims getting pregnant with Benedetta robbed her of the opportunity to become a professional dancer. Anna is a scrawny,, disagreeable person. Dad (Giandomenico Cupaiuolo) is simply childish and self-absorbed. He has long supported the family working at a glass business, but his whole interest is in buying old sports cars and restoring them and that's all he talks about at the dinner table.
But the inadequate or cruel parenting, like Benedetta's ill-defined weight and eating problems, falls away after the early scenes when we don't see any more of the family after the traveling fair arrives nearby and Benedetta meets the trans person, Amanda (Andrea Carpenzano), and latches onto him despite his apparent indifference. Symbolically, he bonds by awarding her the largest and prettiest of the fanciful toy butterflies he collects, gifts from somebody we don't meet. Later, he burns the remaining butterflies, no doubt also symbolic, ostensibly of Amanda's unwillingness to get attached to anything.
Especially since Benedetta is lumpish and ill-defined, for whether or not this film works a lot rests on the depiction of Amanda. It's a focused performance, and has been compared to Jared Leto in Dallas Buyers Club, but despite Carpenzano's assurance, he never seems anything but a skinny actor pretending to be a man posing as a woman. (What Amanda does for the fair isn't clear.) The film doesn't allow us to become fully absorbed into Amanda's fantasy, and the flimsy frocks, makeup, and complicated hair remain flimsy, inadequate facades between the fantasy of womanhood and the skinny actor.
The scene when Amanda takes Benedetta on a swing ride at the fair, grabbing her and letting her go over and over, is meant to be uplifting and transformational, but this crucial moment, like so many of the other scenes, fails to soar.
For a while Benedetta runs away with Amanda when the fair picks up to go elsewhere. A scene where Amanda pimps Benedetta out to a man without her knowledge has possibilities because it's energetic and surprising. Otherwise this rather improbable final sequence doesn't go anywhere except to further depict Amanda's ambivalence and trouble showing affection, even after he-she has allowed Benedetta to ride along and even share his/her bed, and the film ends limply, unresolved, as unsatisfactorily as it began.
A German online review finds the treatment of obesity clichéd and offensive and after several moments that distort the depiction of the lead character, after the fridge raiding scene rejected the film completely. This shows how inadequate this film is in depicting the issues it purports to raise. The actors are doing their best. The screenplay by Luca De Bei and Maria Teresa Venditti, despite it's having won won Italy's prestigious Solinas prize in 2018, doesn't provide them with enough to work with, and Chiara Bellosi's direction is weak. There isn't much material here. Happily, at least, the run-time is short. If the peppy, cheerful music by Giuseppe Tranquillino works for you, maybe you will like this picture.
Swing Ride/Calcinculo, 88 muns. debuted in the Panorama section of the Feb. 2022 Berlinale. It was screened for this review as part of the June 9-15, 2022 FLC-Cinecittà series Open Roads: New Italian Cinema series at the Walter Reade Theater, Lincoln Center.
Friday, June 10 at 6:00pm (Q&A with Chiara Bellosi)
Monday, June 13 at 1:00pm
PIERFRANCESCO DILIBERTO (PIF): ON OUR WATCH/E NOI COME STRONZI RIMEMMO A GUARDARE
FABIO DI LUIGI, ILENIA PASTORELLI IN ON OUR WATCH
Pif's new satire shows we are the victims of our own algorithms
Pierfrancesco Diliberto/PIf's 2013 satire was The Mafia Only Kills in Summer/La mafia uccide solo d'estate, a semi-autobiographical tale that depicted himself as a Forest Gump-like precocious youth who meets with real political reformers in his native Sicily. This time he has bigger fish to fry, taking on worldwide tech empires and the loss of individual freedom for everyone not at the top. It's not likely this treatment of the theme will play well outside Italy, however, because it's still true that Pif has a TV comedy-writer's fragmented sensibility, and once again his movie falls into two different halves. What is true also, though, is that he really makes you think hard about mega-corporate capitol exploitation of labor in a world where there is zero privacy, zero opportunity, and trade unions are only "a moment of nostalgia." And of course all business is done in English. Automated job instructions, delivered by hologram to Italians come blithely couched in heavily American-accented Italian.
Bitter stuff, this, and for a long time the suggestion that it's maybe supposed to be funny sticks in the craw. But Pif saves things - a bit, anyway - a little past midway by having the action turn into a love story, if perhaps a doomed one. There was that aspect to Orwell's 1984 too, wasn't there? And 1984 is a comparison that comes to mind.
The twist is that this is a superficially fluffy, appealing world of fantastic skinny mushroom buildings and quiet car-free transportation - and sometimes it's just Rome. It seems like a budget production until it appears the hero really does go to Mumbai, as the story requires. Now, the villain isn't Big Brother, an oppressive dictator in a grim, gray, totalitarian world like in Orwell's dystopian tale. The new ruler is technology, specifically algorithms, with smiling, folksy billionaire tech "geniuses" taking all the profits. And we give ourselves to them willingly, for a job or a bit of fun - in the Italian title, "we sat by like assholes and watched."
The everyman is Arturo (Fabio De Luigi), who is an executive for a corporation who creates an algorithm to achieve more efficiency. When it's employed, there's just one little problem: it makes Arturo too redundant. Enter FUUBER, whose inspiration is not hard to detect, Uber with a hint of Fuhrer. The creepy young American founder John Fuuber (Eamon Farren) sells inspiration, and behind it, total exploitation of its employees, who think they are serving a higher cause but are more like slaves. Jobless and penniless, the middle-aged Arturo becomes a delivery man on a bike enslaved to merciless algorithm time requirements and piddling rewards. He takes in a roommate to hold onto his apartment, Raffaello (Pif himself), a university professor of Romance Philology (Arturo's surprised they still exist) who must moonlight as an online "hater" for hire.
All kinds of hardships befall Arturo in his lousy job, as he continues with sad-sack persistence: Pif carries this part to where the "comedy" turns into a drag. A saving human strain arrives however with the idea of hologram "ideal friends." Both Arturo and Raffaello take free trials of these, though Arturo at least can't possibly afford to pay the 199-euro-per-week regular fee. He loves Stella (Ilenia Pastorelli), though: she's all that makes life worth living. Ironically, Rafaello's Ideal Friend, chosen by algorithm of course, is a man, Jean-Pierre (Maurizio Marchetti). The screenplay never delves into the possible implication that this means Raffaello is secretly gay; he just keeps turning off this Friend - till he too, starts to be dependent.
Thus for Arturo, after his job has gone to nothing and he is in deep financial shit, this turns into a love story. Stella turns out to be a real person, projected as a hologram from FUUBER's central headquarters in the giant FUUBER tower in Mumbai. To do Pif credit, though his movie changes course by turning into a conventional search for the lost lover, it never completely loses the original point because Pif's depiction of his perverse tech empire is now being pursued to its source. The suggestion that we are letting all this happen is not lost on us.
On Our Watch/E noi come stronzi rimanemmo a guardare, 108 mins., debuted at Rome Oct. 23, 2021 and opened theatrically in Italy Oct. 25. Screened for this review as part of the FLC-Cinecittà Jun. 9-15, 2022 series Open Roads: New American Cinema at the Walter Reade Theater, Lincoln Center.
Friday, June 10 at 9:00pm (Q&A with Pif)
HLEB PAPOU: THE LEGIONNAIRE/IL LEGIONARIO (2021)
GERMANO GENTILE IN LEGIONARIO
Uneven but significant film vividly depicts the new multicultural Italy
The young Italian filmmaker Hleb Papou, who was born in Minsk, Belarus, in 1991, has lived in Italy since he was eleven, growing up in the city of Lecco, on Lake Como, and has been a naturalized citizen since 2017. Papou likes American action pictures: his first movie memory, he said in a brief video interview, was Peckinpah's Iron Cross. He might "blend in," because he's white. But with 8.4% of its population now foreign, Italy's previous monoculture faces a rude adjustment, as do other European nations at different stages. There has been an unprecedented influx to Italy from Africa: over a million. There are over 800,000 children born of immigrants, and Italy, as Papou has said in another interview, "is no longer the place that many people think it is, with its 'pizza, spaghetti, mandolino and bella vita.'"
Among current directors Papou admires Jacques Audiard, so he may have been thinking of The Beat My Heart Skipped, as well as Pickinpah, in making his first movie storyline (first developed in an eponymous prizewinning short film made while studying at Rome's Centro Sperimentale di Cinematografia), which is one that climaxes in a violent eviction from a block of flats in the San Sebastiano section of Rome occupied for fifteen years by 150 foreign-born and poor families. It was a bold youthful project blending documentary elements with action movies like Gareth Evans' 2012 The Raid: Redemption (ND/NF 2012). This kind of thing - even to the ghetto actioner stuff like Richet's 1997 Ma 6-T va crack-er - has been done much more by the French. To see it in Italian is partly heartening, partly horrifying. We are a long way from the gentle humanistic postwar neorealismo of De Sica and Rossellini.
Papou's mix of documentary and fiction is exciting, but uneven. Il legionario, his new feature, which won him the award for best emerging director at Locarno, is energetic and intense, but light on character development and at times indifferent to the viewer. Like too many first films, it forgets to breathe. It also gets clogged sometimes, its female characters are underdeveloped, and its finale is a bit flat. But it is looking at a whole new Italy - a multicultural world such as French films have taken account of for quite a while. Its central issue is confused identity and mixed loyalties. Its main characters are two star-crossed Afro-Italian brothers who have grown contrasting identities. The lean, angular Patrick (Maurizio Bousso) is one of the fieriest and most outspoken leaders of the block occupation. His bigger, bulkier, and darker brother Daniel (Germano Gentile) is a celerino, the lone Afro-Italian member of the Reparto Mobile, the hard-training Rome riot police unit whose job sometimes includes expelling occupiers of squats the municipality has declared illegal, which then happens to the block where he grew up, still occupied by Patrick and his mother.
Hleb Papou and his crew had an exciting and challenging time making a movie this multicultural and turbulent. Amazingly, the city police lent him men for a time. We see provocative one-on-one practice combats of fully geared-up, armored, helmeted and masked celerini that incidentally show the free use of racist and homophobic epithets to provoke themselves to perform combatively. We see Patrick and the block committee engage in hot arguments. The latter are less than stimulating after a while. The police combat only makes sense, perhaps, when we see Daniel at home in his new flat (away from the squat) with his pregnant white wife, playing video get-the-cops games. It's a good job, with his burly, agile body he's an ace at it; but the casual racism, and the involvement with ultra-fascists of his commander Aquila (Marco Falaguasta) make Daniel do some double-think - and deny his family: he never mentions Patrick or their mom and where they live at work.
How Papou made this film is almost more interesting than the film itself. The squat is a real one, the former Inpdap building in Via Santa Croce in Gerusalemme in Rome, and other than the main characters who are professional actors the others are actual occupants of this squat. It's not clear to me who plays Patrick and Daniel's mom, but she weeps real tears and her shaky Italian is real.(Sometimes the non-pro actors may not be very good, and in future Papou might want to be more selective in choosing and developing his main characters.) At one point the electricity has been cut off in the whole building, and a Polish priest arrives with his white hair in a back-knot who asks to be taken to the controls and quickly turns the power back on. This is something that really happened, and Papou just shot it.
Papou is good at bringing all these elements together. Perhaps no thanks to his co-writers Giuseppe Brigante and Emanuele Mochi, the film doesn't quite make Daniel's conflicts and ambivalence as real or as conflicted, or as resolved, as they should be. There is a lot of energy in this movie - it's almost imploding at times. The director has cited, besides Peckinpah and Audiard, Villeneuve and films such as Ladj Ly's prize-winning Les miserables, The Danish Shorta or José Padilha's Tropa de Elite. He wasn't yet thirty when he made Il legionario. We look forward to his further honing his skills and engagé blend of genre and doc elements in future.
The Legionnaire/Il legionario, 82 mins., debuted at Locarno in the Cineasti del Presente section Aug. 6, 2021, awarded as Best Emerging Director, Annecy Cinema Italien – Art Cinema Award – Cicae Winner, also showing at Hamburg and Rome. It grew out of the same-titled short debuted at Critics' Week at Cannes 2017 and Future Frames at Karlovy Vary the following year. Screened for this review as part of the FLC-Cinecittà 2012 Jun. 9-15, 2022 series Open Roads: New Italian Cinema.
Saturday, June 11 at 12:00pm (Q&A with Hleb Papou)
Wednesday, June 15 at 4:00pm
THE INNER CAGE/ARIAFERMA (Leonardo D Costanzo 2021)
LEONARDO DI COSTANZO: THE INNER CAGE/ARIAFERMA (2021)
SILVIO ORLANDO AND TONI SERVILLO IN THE INNER CAGE
Di Constanzo again finds sweetness, this time in an ancient prison
Leonardo Di Costanzo switched from documentaries to fiction features at the age of fifty. His first was L'Intervallo (ND/NF 2012), a slow burner like this one and preoccupied like this one with people held temporarily in a special place and circumstance. But L'Intervallo focused on a couple of youths momentarily confined by the Neapolitan mafia. The The Inner Cage/Ariaferma, his third feature, has grander things in mind and a grander location to enact them in - though it too is modest in its way.
The focus of Ariaferma on a handful of prisoners being held by guards in a big, near-abandoned prison leads us to expect treachery, a violent outbreak, and the first hour, at least, is continually suspenseful. But Di Constanzo mainly has quieter surprises in mind. The result is a beautiful, quiet, somehow ceremonial and grand film about humanity and reconciliation. A power outage causes the dozen prisoners, even a ancient and despised sexual molester, Arzano (Nicola Sechi) alto be gathered dining together amicably with the guards in semi -darkness. It may seem implausible, but this is Italy. The fine acting and painterly chiaroscuro images are so splendid, we would be churlish to object.
The slow, gradual, almost epic manner in which the movie works up to this impromptu communal feast is masterful to see. As the film opens, panoramas of mountains wreathed in fog and what sounds like a religious chant handsomely start the proceedings. The main setting, its use doubtless profiting by the director's deep documentary experience, is the nineteenth-century former prison of San Sebastiano di Sassari in the city of Sassari at the northern end of the island of Sardinia, with its large spokes and big high-ceilinged roundhouse in the center where most of the action transpires.
A group of senior guards, whom we see outdoors of an evening - the first use of dramatic darkness - celebrating the end of their assignment here, are disappointed the next morning when the female director (Francesca Ventriglia) tells them that because a handful of prisoners are still awaiting transfer, they must stay on, with a full squad of backups, to guard them.
Most of the film's attention is on the guards, but the guards' attention is all on the prisoners, who emerge even more strongly as individuals. Heading the guard's side and now with the Directrice gone the supreme authority is "Inspector" Gaetano Gargiuolo (Paolo Sorrentino's great lead actor Toni Servillo). On the prisoners' side it's Carmine Lagioia (Silvio Orlando, The Caiman), a mobster and longtime prisoner, who's the acknowledged capo. With most of the prisoners gone, the prison-manned kitchen is closed and prepared food comes in packages from outside and the dozen or so prisoners are all moved to the central roundhouse. (As Jordan Mintzer comments in his Hollywood Reporter review, the architectural background of the "massive, highly photogenic prison" with its "labyrinthine design" is reminiscent of the drawings of the eighteenth-century Italian artist Giovanni Piranesi.) The inmates immediately reject the new food.
Ispettore Gargiuolo is firm, but inside he's a softie; his authority overrides the more severe under-guards. This is a time of hardship for everybody. Visitors and packages can no longer be received, and nobody knows how long this limbo will go on. To end the food rioting, Gargiuolo orders the recently closed kitchen to be reopened. Lagioia, whose father ran (and still ruins) an osteria, takes this over. He becomes the cook, with Gargiuoilo watching him. The new setup is a success; Lagioia's meals are tasty, and the guards eat them too.
Among the prisoners, a standout is a recently arrived youngster, Fantaccini (Pietro Giuliano). Everyone sympathizes when the man he beat up to steal his wallet, who has gone into a coma, seems to be dying, which will give him a much longer sentence. Bad luck! Di Costanzo ignores all the genre conventions here yet still manages to find something triumphant and impressive. The direction is superb, clearly. Much also is due to the multple-award-winning dp (and Sorrentino regular) Luca Bigazzi, and at key moments as well as throughout essential color and artistry are added by the sound designer and the composer, Pasquale Scialò and his periodically astonishing sound effects - an a cappella choir; orchestral clapping.
The Inner Cage/Ariaferma, 117 mins., debuted at Venice out of competition Se[t. 5, 2021, also Gothenberg and Taillin Black Nights, it got nine nominations and won two 2022 Davide di Donatello awards for best original screenplay (Valia Santella, Bruno Oliviero) and best actor (Silvio Orlando). Screened for this review as part of the June 9-15, 2022 FLC-Cinecitta series Open Roads: New Italian Cinema at the Walter Reade Theater, Lincoln Center.
Sunday, June 12 at 8:15pm
PAOLO TAVIANI: LEONORA ADDIO (2022)
FABRIZIO FERRACANE (CENTER) IN LEONORA ADDIO
A valedictory film from the remaining Taviani
An Italian review (by Alessandro Cavaggioni) of this composite film by Paolo Taviani calls it "un film disordinato ma severo, esatto ma personale" ("a disordered, but severe, exact but personal film"). One might even call it disheveled. But it is still moving, solemn, ceremonial, and interestingly strange. Its title is all that's left of a Pirandello story that wound up on the cutting room floor. The film comes, you see, four years after the death of Paolo's brother Vittorio. This is above all a meditation on fame, creativity, and death. What's left is really two films. The longer first segment is slow and segmented and also referential. It is an hour mostly in black and white about the ashes of the great Italian modern writer Luigi Pirandello (1867-1936). Detached, after that, comes a half-hour in color dramatizing one of Pirandello's last stories, "Il chiodo" ("The Nail"), about a lonely young Sicilian boy (Matteo Pittiruti) who inexplicably murders a young redheaded girl using a large nail that falls from a cart "on purpose." He goes free, but his guilt and reverence at the girl's grave will dominate his whole life.
Students of Italian literature know how great Pirandello was and important to literary modernism. It's impossible to escape reading at least one or two of his novels, and as for the plays, you don't need to be a student of the language to know them. Unfortunately, Pirandello was pro-fascism and pro-Mussolini (though I do not remember knowing this); hence that movement's taking over his ashes, if rather disrespectfully. Mussolini orders Pirandello buried in a black shirt.
Everything in Leonora Addio is dominated by the ninety-something Paolo's opening dedication to his brother Vittorio and the audience reminder that after fifty years of working together - and winning major prizes at Cannes and Berlin and elsewhere more than once - now he is alone. So what do the honors mean now? Thus the film begins with actual footage of Pirandello receiving the Nobel for Literature in Stockholm in 1934, then his words about experiencing great loneliness, then news that he died in 1936. Fascist orders countermanded his wish to be buried in his native Agrigento, Sicily and we see his ashes plastered behind an ordinary burial wall in Rome.
Pirandello's death has been fancifully shown - or is it the death of the filmmaker, or of his brother? - in a scene that references Kubrick's 2001. Clips, not from documentaries but from great Italian films by Rossellini, Antonioni, Lattuada and others, provide glimpses of the period after the War, which is when, ten years after Pirandello's death, with the fascists defeated and Mussolini gone, the maestro's ashes are broken out of the wall and laboriously taken, poured into a bigger vase, stored with a handsome ancient Roman-style vaseto in a large crate, to his native Agrigento at last by a "Delegate of the City Government" of Agrigento" (Fabrizio Ferracane, who was in Il Traditore and the current NIC film Ariaferma). Pirandello's original dying wish was that his ashes be scattered to the wind or, failing that, to be taken to Sicily and "walled within a rough stone in the countryside" where he was born.
The ashes' trip to Sicily is in segments too. A US Army jeep takes the Delegate and the crate roughly down a crowded dirt road, angering Italian walkers. On a small Army freight plane, the mostly Italian passengers one by one get off when they learn it's "il maestro Pirandello" in the box and so a dead man and so serious bad luck. Third segment: the Delegate rides in freight or the lowest class on a train now, with the crate, which gets spirited away at one point by men who use it as a card table. Though the Deligate (in color now) gets to scatter a stolen pocketful of the ashes to the sea, it's only fifteen years after his death that finally the unhurried sculptor finds the appropriate rock for the sculptural tomb the writer wished for. Life isn't easy after you're dead, no matter how famous you are.
But the life of this film is easier in Italy, where the Taviani brothers are revered and Pirandello is one of the greatest names in literature. English language reviews, while acknowledging this film as "deeply moving and quite baffling" (Indiewire), is easily dismissed as "not terribly engaging" (Variety). David Rooney's piece for Hollywood Reporter is the most appreciative and best informed of the main English-language reviews. Rooney points out, for one thing, that the ashes-of-Pirandello story was a long-contemplated project of both brothers, and that "The Nail's" setting is shifted from Harlem to Brooklyn and that this story too is about "finding peace for the deceased" and ritually respecting the dead.
The author of the (unsigned) Variety review finds the recent death of Monica Vitti occasion to return to "wondering why contemporary Italian cinema is such a meager shadow of its former glory," and to note that the Taviani brothers "arrived on the tail end of that wave," "keeping the neo-realist tradition alive for a time." But they insist that the acting throughout Leonora Addio "is transparently phony," notably that of Ferracane and all the extras around him. But another Italian review feels the film is suffused with "bitter irony," it (NYFs seriousness colored with a comic edge.
The relative thinness of contemporary Italian cinema is something I remark on every time I review another recension of the Open Roads: New Italian Cinema series, and the Taviani brothers never really impressed me, whatever their links with the time of greatness, even their most celebrated films such as The Night of the Shooting Stars and Padre Padrone, Good Morning, Babylon, or Kaos. By the same token if this is a relatively slight - but deeply felt - item I find that rather moving. Variety thinks it "landed" in competition at the Berlinale where Caesar Must Die (a somewhat overrated film) won "under a different regime" there, only "out of respect." But it can't have been just "out of respect" that Leonora Addio, this touching, ungainly oddity, won the FIPRESCI Prize. See, for more about "The Nail," the excellent FIPRESCI essay by René Marx which points out both the long film part and the short film part are linked by the way "absurdity is mixed with horror, ironically mixed." He links Paolo Taviani with other "brilliant youngsters" like De Oliveira, Godard, Eastwood, and Bellocchio.
Leonora Addio, 90 mins., debuted in competition at the Berlinale Feb. 15, 2021 (receiving the FIPRESCI Prize), opening in Italy Feb. 17. It was Screened for this review as part of the FLC-Cinecittà 2012 Jun. 9-15, 2022 series Open Roads: New Italian Cinema where it shows at the Walter Reade Theater of Lincoln Center.
MATTEO PITTIRUTI IN LEONORA ADDIO ("THE NAIL")

redpajama_set_name: RedPajamaCommonCrawl


In the field of optics, a prism is a transparent object with at least two angled sides that break up white light into its constituent colours(1). In the same way that a single beam of light is in reality made up of different colours, the systems-based approach to risk analysis proposes that risk is likewise composed of different elements. These individual elements in turn are combined into a range of subsets, each associated with a range of different probabilities(2, 3).
For additional information on the SRA-ANZ 2018 Conference, please download this flyer.


The Comité des Connétables wants your views on the issue of litter, including dog fouling, the current penalties and enforcement options available and alternative options which might be considered.
Dropping litter, and not clearing up dog faeces, is an offence under Jersey law.
"It is a reality that littering is given lower social priority than crimes such as vandalism or theft, and is therefore given lower policing priority. Nevertheless, considerable public concern remains, and it would seem appropriate that the Minister for Home Affairs should work with the States of Jersey Police and Parishes to enforce the existing regulations addressing antisocial behaviour and littering as a priority, ensuring consistency across the Parishes."
How should we encourage greater compliance but also identify offenders? What is an appropriate penalty that will deter further offences? Are the required resources available to identify and to catch offenders and is the administration required to impose a penalty proportionate and affordable?


text:
Q: python if statement always false I am having issues with an if statement always returning false. I am writing my code in Canopy. I am almost positive it's my syntax, because I replaced "is 'graj mahal'" with "> 200", input a value of 300 and it returned "sounds great!". Here is the excerpt of my code in question:
answer = str(raw_input("What do you want for dinner?"))
if answer is "graj mahal":
    print ("Sounds great!")
else:
    print ("Ewie")
print ("the end")

Any suggestions? Thanks for your help.

A: The reason OP's code was not working was that he was checking for the identity of two equal strings, which, even if equal, are not considered the same object.
In some conditions, the interpreter may cache string values (this is called string "interning"), but not always, and only for short strings.
It's very important to properly differentiate the concepts of identity and equality in Python. Identical objects sit at the same address in memory. Equal objects are considered so by the return value of __eq__.

A: In if statements, you have to use either

*

*== for "is equal to"

*>= for "is greater than or equal to"

*<= for "is less than or equal to"

*!= for "doesn't equal"

*> for "greater than", and

*< for "less than"

redpajama_set_name: RedPajamaStackExchange


text:
Total Consecration
Act of Consecration
Eucharistic Adoration for Fr. Kolbe
by Fr. Stefano Manelli F.I. | Aug 18, 2015 | Articles | 0 comments
The heart of the "City of the Immaculate" was the chapel with the Blessed Sacrament. St. Maximilian introduced Perpetual Eucharistic Adoration at Niepokalanow and assigned turns of adoration to each of the nearly 800 friars. Despite their feverish activity, they regularly adored the Blessed Sacrament with faith and devotion. The fruits were apostolic development, conversions, numerous vocations and the sanctification of the religious.
"Eucharistic Adoration," St. Maximilian once affirmed, "is the greatest power in the universe, capable of transforming us and changing the face of the world." His is a definition which catches us off guard, unless we turn immediately to reflect upon the Eucharist as a reality so transcendent, that we will never be able to properly appraise it with our limited powers.
Eucharistic Adoration establishes a personal relationship of faith and love with our divine Redeemer, immolated for each one of us, humbly present as the Host in the tabernacles of our churches. Pope Benedict XVI has reminded us of this with his characteristic style. During his pontificate, he has shown himself to be a totally "Eucharistic" pope.
In his homily of August 21, 2005, at World Youth Day in Germany, the Holy Father explained the importance of Eucharistic Adoration by describing the twofold etymology of the word "adoration." The Greek word for adoration, proskynesis, "refers to a gesture of submission, the recognition of God as our true measure, whose norm we choose to follow." The Latin adoratio signifies "mouth to mouth contact, a kiss, an embrace, and hence, ultimately love. Submission becomes union, because he to whom we submit is Love." This is why, the Holy Father continues, "the Eucharist must become the center of our lives," just as it was the center of the lives of the saints.
It is written of St. Francis of Assisi that he "was enrapt in adoration of Christ, who was crucified by love, mystically immolated in every Eucharist. He [St. Francis] was pierced to the soul [by contemplation of this love], and so he desired to suffer any affliction that would bring him closer to Christ." The same Saint addresses this impassioned plea to us: "I implore you, brothers, kissing your feet and with the charity of which I am capable, to show all reverence and all honor possible to the Most Holy Body and Blood of our Lord Jesus Christ" (Letter to a Chapter). This is the mandate of the Seraphic Father, handed on to us as a legacy of fervent love.
What, then, must our life of Eucharistic Adoration be like? The mandate of St. Francis calls us to undertake a serious commitment to Eucharistic Adoration, motivated by an uncommon, extraordinary love. It is a call to that "greater love" spoken of in the Gospel (cf. Jn 15:13), to a self-immolating, crucifying love. It is a call to an adoring love, giving birth to a desire "to suffer any affliction that would bring [one] closer to Christ."
Was not, then, the Eucharistic Adoration of St. Francis and of St. Clare, his "little plant," one that obliged them to sacrifice-an adoration that was long and constant, day and night, during night watches and through tears? Theirs was an adoration that sometimes lasted for hours at a time, and at other times consisted in brief visits to the holy tabernacle. More often yet, it took the form of ardent desires and longings.
We know from the life of St. Maximilian that Perpetual Eucharistic Adoration was one of his principal aspirations and preoccupations for the "Cities of the Immaculate" in Poland and Japan. For him, Eucharistic Adoration comprised the "most important work area in the friary." He himself did not fail to make visits to the Most Blessed Sacrament, offering the entire visit expressly to Our Lady, sometimes simply uttering the brief invocation "Mary," because in that way he gave "the greatest joy possible" to Jesus.
With reason it is written that St. Pio of Pietrelcina "could be defined as 'the ecstatic priest of the Eucharist.' His life, his thought, his heart had a center: he was a prisoner of love of the tabernacle. He drew his strength from the Eucharist to carry the immense weight of his mission of Simon of Cyrene, ready to carry his cross all the way to Calvary with Jesus." Who could ever forget the figure of Padre Pio who, day after day, spent whole hours in prayer in sight of the tabernacle and under the maternal gaze of Our Lady of Grace? He did this also by night. For this reason, he could say to his spiritual children, "If you are looking for me, you'll always find me by the tabernacle, with Jesus."
The Era of the Immaculate
The Immaculate: Mediatrix of Divine Love
"A Global Form of Catholic Life"
Our Lady of All Nations
The Immaculate: Mother and Teacher
Marian-Franciscan Charism
Franciscans of the Immaculate


text:
Q: Why can't I run java from the command line anymore? I've been running java programs from the command line for 5+ years using the same process:

*

*javac Program.java

*java Program
This is suddenly not working.  Compiling works, but when I try to run the program I get an error saying the class cannot be found.
However, now when I type this, it works:

*

*javac Program.java

*java Program.java
This is fine, but when I have a class that extends another, it isn't being found.
Here is how it looks on the command line:
C:\Drive\Java>javac Program.java
C:\Drive\Java>java Program
Error: Could not find or load main class Program
Caused by: java.lang.ClassNotFoundException: Program
C:\Drive\Java>java Program.java
Hello World
Is there something I could have done to cause this change?  I noticed it started happening yesterday after a windows update.

A: The Class's name should be exactly the same with the file name, please paste the code or check it yourself.

A: I was able to resolve this issue.  The problem was that I had added a CLASSPATH environmental variable that pointed to my java bin folder and this was causing the behavior.  I deleted it and the problem was resolved.

A: I suggest you check if your computer system is compatible with your jdk version.
And support? x86 x64


On Sunday afternoon Montgomery County, Maryland police and Child Protective Services seized the free-range Meitiv children, ages 10 and 6, after their parents had again let them play by themselves at a park. The kids were supposed to return home by 6; the police did not call the by-then-frantic parents until 8 p.m. [WUSA; Lenore Skenazy] Although initial accounts placed the seizure at the park, per tweets Sunday evening by Fox5 journalist Marina Marraco, the kids were walking back from the park and had gotten to within 1/3 mile of home when police intercepted and picked them up pursuant to a 911 call from "a neighbor" who had spotted them walking alone. The Meitiv family had become the center of a national cause célèbre in January when the county charged the parents with child neglect for letting the two kids walk home from a park. In March, CPS found the neglect charge "unsubstantiated" but puzzlingly deemed the parents "responsible" for it anyway.
Are the sidewalks of Montgomery County, MD, so dangerous that merely walking on them is probable cause?
Wow. Is this America? Is the same rule in Cumberland or any other place in Maryland? If not, there are serious lack of notice problems in enforcing these laws in the manner that Montgomery County is.
This is another example of not being able to be the ride, whether or not you can bet the rap. The problem, of course, is that the kids are being subjected to the ride too. Hopefully, some of these bureaucrats will have their lives turned upside down with capricious government.
There should be organized over the perfectly safe route this 10-year old escorted his six-year old brother, a national "Children's March for Growth and Freedom." Our First Lady should be invited to participate as part of her campaign against childhood obesity.
After showing up at the march, families could take a short side trip to lobby Congress for a civil-rights law against "kidnaping under color of authority" and "child abuse under color of authority," crafted to make these Montgomery County officials (and their imitators) liable for heavy criminal and civil penalties.
Emblematic of an even deeper problem. The single lone male who saw the kids might reasonably have been concerned for their wellbeing. However, under no circumstance would a thinking adult male approach children lest he be labeled a potential danger himself. Indeed, he had to make the call in order to stay ahead of the informant game; what if the kid whipped out a phone and told the police that they were feeling uncomfortable about a lone male on the street with them.
In a better world, he would have felt free to ask the kids if they are lost or need anything, and all would have gone on their way.
But adult males can no longer be free range themselves. I have to constantly be aware of my surroundings, and avoid any possibility of confusion that could arise about my interaction with children, and women.


I've got plenty of little scars here and there. Most I don't even remember how I got them. But this one I remember. I was six-years-old and had just gotten out of the dentist office. For being a good patient, my mama decided to reward me with a chipwich, but I had to finish it before we got into the car. So happy, little, excited me scarfed down chipwich without dropping a drop of ice cream on my white dress. Before I got into the car though, I ran to the orange street garbage can to throw out the wrapper. As I was running, about two feet from my target, my dyspraxia hit me hard, I tripped over my own feet and fell, scraped the back of my hand and some of my fingers. My hand still have a very light scar, but the strongest one has to be this one on my finger.
Those chipwich wrappers will get ya if you're not careful. Lesson learned, don't eat ice cream and run.


Rosé Gold - Retox Detox Pamper Kit Sometimes the best part of going out is getting ready - or is it the duvet day afterwards? This Retox Detox bumper pack has your skincare covered pre and post-party, helping you glow up for a big event then wind down and replenish. Contains 8 spa treatments including hair masks, foot masks, eye pads and hand cream for top to toe indulgence.
Ros� Gold - Retox Detox Pamper Kit Sometimes the best part of going out is getting ready - or is it the duvet day afterwards? This Retox Detox bumper pack has your skincare covered pre and post-party, helping you glow up for a big event then wind down and replenish. Contains 8 spa treatments including hair masks, foot masks, eye pads and hand cream for top to toe indulgence.


text:
Behav Brain Res. 2003 Nov 30;146(1-2):97-103.
Orbital prefrontal cortex mediates reversal learning and not attentional set shifting in the rat.
McAlonan K1, Brown VJ.
School of Psychology, University of St. Andrews, St Andrews KY16 9JU, Scotland, UK.
It has been demonstrated previously that lesions to medial prefrontal cortex in rats impair the shifting of attentional set between perceptual features of complex stimuli [J. Neurosci. 20 (2000) 4320], a result that mirrors the deficit found in humans and monkeys [Nature 380 (1996) 69; Behav. Neurosci. 110 (1996) 872; J. Neurosci. 17 (1997) 9285; Neuropsychologia 29 (1991) 993]. These data imply functional homology between rat medial prefrontal cortex and primate prefrontal cortex.In marmoset monkeys, there is a double dissociation between the effects of lesions of lateral prefrontal cortex, which impair shifting of attentional set, and lesions of orbital prefrontal cortex, which result in impairments of reversal of stimulus-reward contingencies, leaving attentional set-shifting capacities intact [Nature 380 (1996) 69; Behav. Neurosci. 110 (1996) 872; J. Neurosci. 17 (1997) 9285]. The present investigation examined whether lesions to rat orbital prefrontal cortex would produce deficits in reversal learning in the absence of deficits in shifting attentional set, as seen in monkeys. Rats were trained to perform an attentional set-shifting task that is formally the same as that used in monkeys and humans. In a single session, rats performed a series of discriminations, including acquisitions and reversals. Damage to orbital prefrontal cortex in the rats did not disrupt the ability to acquire, maintain or shift attentional set. We report here the same selective impairment in reversal learning in rats as seen in primates with orbital prefrontal cortex lesions.
Publication types, MeSH terms
Analysis of Variance
Attention*
Behavior, Animal
Discrimination Learning
Prefrontal Cortex/anatomy & histology
Prefrontal Cortex/physiology*
Reversal Learning/physiology*
Set (Psychology)*


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text:
Q: Asynchronous request in react-native I use this piece of code to asynchronously make a request with React-Native, but it seems like it doesn't get it. The request has been tested separately and the data should be valid.
   var data = [{name: 'simon'}];
   const req = new XMLHttpRequest();
   req.open('GET', testedValidUrl, true);
   req.send();

   req.onreadystatechange = processRequest;
   var name ="";
   function processRequest(e) {
      if(req.readyState == 4 && req.status == 200){
      var response = JSON.parse(req.responseText);
      data[0].name = response.name;
      }
      // setTimeout(()=>{},1000);
    }

I thought that maybe it was because of concurrence and that the large array in the real application takes less time to construct than to get the data from the server. Adding setTimeout() did not fix it.

A:    var data = [{name: 'simon'}];
   const req = new XMLHttpRequest();
   function processRequest(e) {
      if(req.readyState == 4 && req.status == 200){
      var response = JSON.parse(req.responseText);
      data[0].name = response.name;
   }
   req.onreadystatechange = processRequest;
   req.open('GET', testedValidUrl, true);
   req.send();
   var name ="";

If you set the event handler, (onreadystatechange) after you send/open the request, the readyState has already changed and thus it won't be called.


Nelly has served our patients with warmth and skill since joining the practice in 2007. She appreciates that we don't rush patients through the dental care process and that the atmosphere of the office is always pleasant and calm. Nelly is excited to see each patient gain a healthy, beautiful smile with our help! She and her husband have two daughters and a son, and when she's not spending quality time with her family, Nelly enjoys shopping and remodeling her home.
A valued member of our team since she joined in 2004, Tracie loves learning about new technology and seeing patients truly enjoy their new and improved smiles. She says that the family-like environment we've created here is truly special. Tracie and her husband have two boys and a girl, and in her free time, she enjoys participating in anything with the family, including bike riding and watching her son and daughter play sports.
A longtime member of the staff, Hilda has helped our dental office run smoothly for many years. She is dedicated to serving our patients by answering questions about paperwork and insurance coverage, and says it gives her a sense of accomplishment to work for a great doctor and interact with such wonderful patients. Hilda loves spending time with her family, which includes three daughters, one son, five granddaughters, and five grandsons. She also enjoys dancing and watching her grandchildren play sports.
I graduated from Houston Community College with an Associate in Science in 2013. I have truly enjoyed being a hygienist and being able to educate and provide quality service to patients. I love being able to comfort patients' fears by being compassionate and gentle. Having the latest technology and modern equipment at Dr. Suki's office, allows me to practice my profession with comfort and ease. I enjoy getting to know all my patients and building a trusting relationship for years to come. In my free time, I enjoy doing crafts, scrapbooking, taking pictures, listening to music, meeting new people and spending time with my family and friends.


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text:
On politics in the Golden State
« Previous Post | PolitiCal Home | Next Post »
Assembly speaker wants to trade tax breaks for scholarships
February 8, 2012 | 11:51 am
Assembly Speaker John Pérez announced Wednesday he will push to end corporate tax breaks in order to lower tuition by two-thirds for middle-class, California students at state universities.
"The pressures of the recession and massive fee increases have eroded, or even ended, the dream of higher education for too many California families," Pérez (D-Los Angeles) said in a statement. "Now it is time for our state to reinvest in our system of higher education."
The plan would be financed by canceling $1 billion in tax breaks that benefit large, out-of-state corporations and began in 2009.
The additional revenue would finance scholarships for students whose families make less than $150,000 a year but earn too much to qualify for financial aid. If eligible, California State University students would save $4,000 per year, and University of California students would save about $8,200 per year.
Roughly 150,000 CSU students and 43,000 UC students could be affected by the plan.
Steep budget cuts to higher education have resulted in sharp increases in tuition and fees for California students. Since 2003, CSU fees have jumped 191%, according to the speaker's office. Pérez said that's forced middle-class students, who don't get financial assistance but can't afford the full price, to take on heavy debt to get their degree.
"There's been a real squeeze on the middle class," he told reporters.
Pérez said he expects he will be able to secure at least two Republican votes in the Assembly to end the tax break, which requires a two-thirds vote to pass.
Jerry Brown slashes higher education spending, disabled services
Second round of tuition hikes likely at UC and Cal State systems
Thousands rally at Cal State campuses against higher education cuts
-- Chris Megerian in Sacramento
chrismegerian@twitter.com
Photo: Assembly Speaker John Pérez speaking in the Capitol last year. Credit: Rich Pedroncelli / Associated Press


Discovery Day is one of three events that are part of the Lambton PEO Chapter's National Engineering Month Extravaganza. It is an annual event held at Lambton Mall where children can discover interesting science, technology, engineering, and mathematics (STEM) activities organized by the Lambton PEO Chapter and also by local companies at their Sponsor Booths. Each group organizes a booth with a fun task for children to get a passport stamp.
Parents/Participants : For children to participate, just come out to the mall on Saturday to experience some fun and engaging activities!
Volunteers: We are currently seeking volunteers to assist with running booths. If you're interested or would like more information, please contact us.
Company Sponsors: For companies wishing to volunteer, donate, and participate, please or for more information please email Yahya.


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text:
Iván Eliseo Quintana Miranda (Tomé, 3 de abril de 1936) es un abogado y político chileno. Fue diputado por la Provincia de Concepción en 1973.

Biografía
Hijo de Florencio Quintana y Etelvina Miranda. Casado en Ránquil el 22 de febrero de 1958 con María Nancy Alarcón Canales, es padre de cuatro hijos.

Realizó los primeros estudios en la Escuela N.º1 de Tomé. Los continuó en el Liceo de Hombres de Concepción. Posteriormente, ingresó a la Universidad de Concepción a estudiar Derecho, jurando como abogado ante la Suprema Corte de Justicia en enero de 1962.

Militante del Partido Comunista, fue regidor de Tomé entre 1967 y 1973. En marzo de 1973 fue elegido diputado por la 17ª Agrupación Departamental de Concepción, Tomé, Talcahuano, Coronel y Yumbel. Integró la Comisión de Trabajo y Seguridad Social. Su período parlamentario fue interrumpido por el Golpe de Estado.

Durante la dictadura militar estuvo detenido y fue torturado. Estuvo exiliado en Frankfurt, Alemania Occidental hasta 1988, cuando regresó al país.

Tras el retorno de la democracia en 1990 fue candidato a diputado por Concepción y Lota, sin ser elegido. También participó de la elección de consejeros regionales de 2013, donde no logró el cupo para el distrito Concepción II. En 2014 fue nombrado Seremi de Trabajo de la Región del Biobío, cargo al que renunció en 2015 por motivos personales.

Actualmente es presidente provincial del PC en Concepción.

Historial electoral

Elecciones parlamentarias de 1973
 Elecciones parlamentarias de 1973 para la 17ª Agrupación Departamental de Concepción

Elecciones parlamentarias de 1993

 Elecciones parlamentarias de 1993 a Diputado por el distrito 45 (Coronel, Florida, Hualqui, Penco, Santa Juana y Tomé)

Elecciones parlamentarias de 1997

 Elecciones parlamentarias de 1997 a Diputado por el distrito 44 (Concepción, San Pedro de la Paz y Chiguayante)

Elecciones parlamentarias de 2001

 Elecciones parlamentarias de 2001 a Diputado por el distrito 46 (Lota, Los Álamos, Arauco, Cañete, Contulmo, Curanilahue, Lebu y Tirúa  )

Elecciones parlamentarias de 2005

 Elecciones parlamentarias de 2005 a Diputado por el distrito 45 (Coronel, Florida, Hualqui, Penco, Santa Juana y Tomé)

Notas

Referencias

Enlaces externos

Nacidos en Tomé
Abogados de Chile
Diputados del XLVII Período Legislativo del Congreso Nacional de Chile
Comunistas de Chile
Alumnado del Liceo Enrique Molina Garmendia de Concepción
Alumnado de la Universidad de Concepción
Torturados de Chile
Chilenos exiliados de la dictadura militar

redpajama_set_name: RedPajamaWikipedia


text:
Trump welcomes China's trade concession with brief tariff delay
by Jerome Frank
in World News
"I think it was a gesture, OK, I think it was a good move". "But it was a big move".
On the other hand, he stated Trump is willing to continue raising tariffs on imports of Chinese goods as part of Washington's pressures. "I take the Chinese in good faith that they want to come here with a deal now".
"Clearly, they're trying to show what they can do if we get back to somewhat of a normal trade relationship", he said.
China has released a list of 16 United States imports that will be exempted from tariffs in the ongoing trade war between the world's two largest economies. Top-level negotiators last met face-to-face in China in July. Exact dates for the meetings have not been released. The delay could signal a de-escalation of tensions ahead of trade negotiations that are slated to resume in Washington next month, although expectations are tempered, analysts said.
Not only would USA companies leaving China further dim United States economic growth prospects, but even the Wall Street Journal points out that if U.S. companies move their supply chains to south-east Asian countries, they will pay a high price and face labour shortages and poor infrastructure.
"Huawei is not a pawn in trade talks".
If a deal like the one being contemplated comes to fruition during the forthcoming face-to-face meetings, it could lead to a hold on further USA tariffs and an eventual removal of the 15 percent tariffs on $112 billion in Chinese goods that went into effect on September 1. The Chinese government is considering whether to permit renewed imports of American farm goods including soybeans and pork, Bloomberg reported Wednesday.
China has imposed several rounds of tariffs on USA imports in the ongoing tit-for-tat dispute between the two countries. The United States is by far China's largest supplier of whey, which is an important ingredient in piglet feed and hard to source in large volumes from elsewhere.
Trump administration to revoke water protection rule
The EPA and Army Corps of Engineers are writing a replacement rule, which is expected to be finalized by the end of the year. She says she's confident state environmental officials will ensure water quality doesn't suffer.
Oil rises as US, China swap concessions in trade war, inventories fall
Oil is down about 15 percent from its peak in April as the prolonged US-China trade spat dents the outlook for global demand. OPEC, Russia and other producers have since January 1 implemented a deal to cut output by 1.2 million bpd.
Apple Watch Series 5 lands September 20, from $649
A "must-have" Apple Pencil integrated to work with the iPad touch screen can be used as a controller for creation or productivity. The news follows the iPhone-maker's reveal of the service's launch date and USA pricing during an event at its Cupertino campus.
Both Trump and Chinese leader Xi Jinping have sought to lower tensions in recent weeks as the world's biggest economies see growth slowdown, with the USA delaying a planned hike in tariffs until mid-October.
Beijing imposed 25% tariffs on American farm goods a year ago in response to Trump's tariff hikes on Chinese goods.
US President Donald Trump shakes hands with Chinese President Xi Jinping during a meeting on the sidelines of the G-20 summit in Osaka, western Japan on June 29, 2019.
The exemption will take effect on September 17, and three factors will be taken into consideration when deciding if a product is worthy of tariff exemption: difficulties in seeking substitutes, severe economic damage caused by the additional tariffs, and the serious negative structural effects on the relevant industry, the commerce ministry said.
The first list includes 12 items and allows affected import enterprises to apply for refunds of collected duties within six months from Wednesday.
Lower-level USA and Chinese officials are expected to meet next week in Washington before talks between senior trade negotiators in early October.
Beijing this week renewed a promise to buy USA agricultural goods such as pork and soybeans, the most valuable US farm export.
Senior White House adviser Peter Navarro this week urged investors, businesses and the public to be patient about the trade dispute.
'SNL' adds first Asian cast member, 2 more for Season 45
Braun Backs Trump on Taliban Talks, Bolton Ouster
US Supreme Court backs Trump administration's tough asylum restrictions
Canadian military mobilized to help Newfoundland dig out 1/20/2020
Adam Schiff claims Trump's lawyer Alan Dershowitz's argument against impeachment is 'absurdist' 1/20/2020
2 officers shot in Hawaii, home engulfed in flames; gunman at large 1/20/2020
Meghan's father accuses daughter of 'cheapening' UK's royal family 1/20/2020
No Big Ben Bongs: UK Plans Light Show To Mark Brexit 1/20/2020
Airline passengers travelling from China screened for new coronavirus 1/19/2020
Iran's Khamenei stands by Guards after unrest over downed plane 1/19/2020
Meet the Muslim Republican Iraqi Refugee Who's Looking to Unseat Ilhan Omar 1/19/2020
SKoreans, 3 Nepal guides missing in avalanche; 30 rescued 1/19/2020
Mexico escalates border security to block migrant caravan 1/19/2020
U.S. Supreme Court backs Trump asylum rule keeping claimants in Mexico
Under the rule, people arriving via a third country must claim asylum there first before arriving at the United States border. The Supreme Court is not supposed to be used as a way for the government to jump the queue and ignore lower court litigation.
Full Pixel 4 XL Specs Leaked in New Hands-on Video
Last but not least, there's a "Smooth Display" mode that adjusts the refresh rate of the display between 60Hz and 90Hz. One of those tricks is a 90 Hz display, which few phones outside of the OnePlus 7 Pro can match in 2019.
Oil prices reach six-week high Tuesday
He said the global economic outlook was expected to improve once a trade dispute between the USA and China was resolved. He added that he and Prince Abdulaziz discussed cooperation within the alliance between OPEC and non-OPEC members.
Antonio Brown Practices With Patriots for First Time
Taylor, the alleged victim, chose to file using her real name and identity, which advocates say can help the healing process. Heitner said Taylor reached out to Brown again past year , and she traveled to his residences on multiple occasions.
Nintendo's New Fitness Game Puts Joy-Cons in Strange Places
This will let them continue every day at an activity level that's comfortable for them. Engage those abs to block attacks in Ring Fit Adventure .
Body found in Florida pond is man missing since 1997
Investigators towed the vehicle and the remains to the county medical examiner's office for processing, the sheriff's office said. While he was apparently not a frequent drinker, he did have several drinks in the club on the night of his disappearance.
6 people hurt in workplace stabbing at Dyke Industries in Tallahassee
Police say they will be working to collect surveillance video from both Dyke Industries and the Coca-Cola Bottling Plant nearby. FBI Jacksonville is in contact with investigators and we stand ready to provide any resources needed at their request.
Meghan Markle's clothing line for Smart Works has arrived
Last week, she flew to NY to support her friend, tennis player Serena Williams , at the US Open Championships on September 7. More precisely it's about the launch of a work capsule wardrobe range for the not-for-profit organisation Smart Works .
What Time is ABC's Democratic Debate?
Cory Booker and former Hud Secretary Julian Castro are in a similar boat having barely made the cut alongside Klobuchar. Biden advisers told Politico that they do not understand why Biden is heavily scrutinized, but not Warren or Sanders.
North Korea again tests 'super-large' rocket launcher: KCNA
Some observers say the launches may be an attempt by the North to put pressure on Washington to reopen negotiations. North Korea has also conducted at least eight test launches since then, usually with multiple missiles each time.
Liberal election plane damaged after bus drives under wing in Victoria
The Conservative leader responded to this story, saying Trudeau should have waved the rule in order for the police to investigate. That would leave him and his Liberal Party weakened, relying on opposition members of parliament to push through legislation.
Murder suspects who escaped custody in Utah recaptured in Arizona
A press conference was scheduled by the Marshals' office later Thursday morning in Phoenix to discuss the case. David Gonzales, the USA marshal for Arizona, did not immediately return a call from the Associated Press.
Mugabe to be buried in his village early next week: family
Mnangagwa visited Mugabe's mansion Thursday, viewing the casket and paying respects to the former president's widow, Grace . However, it seems some family members want to follow Zimbabwean tradition and bury Mugabe at his home village of Kutama.
House Judiciary Committee votes to advance gun legislation
Toomey, who Trump mentioned by name along with Manchin and Sen. "We're getting to the witching hour" for a decision, Murphy said. Manchin, referring to Trump, said, "We're going to know hopefully by tomorrow if there's something we can all agree on".
China and Trump Exchange Goodwill Gestures on Tariffs
Section 301 tariffs, beginning previous year in July and August with a 25% levy on about $50 billion of U.S. imports. President Donald Trump is postponing tariffs on $250 billion in Chinese goods as a "gesture of good will".


text:
Q: How to get support for cipher suite TLS_PSK_WITH_AES_128_GCM_SHA256? Cipher suite TLS_PSK_WITH_AES_128_GCM_SHA256 is included in JSSE Cipher Suite Names (Ref: https://docs.oracle.com/javase/8/docs/technotes/guides/security/StandardNames.html).
But same is not included in the list supported cipher suites (Ref: https://docs.oracle.com/javase/8/docs/technotes/guides/security/SunProviders.html).
Also I re-checked whether it is supported by running code ... sslSocketFactory.getSupportedCipherSuites(). But it isn't.
What does it mean?
How can I get the support for this Cipher suite?
If I have to provide implemntation for this cipher suite, how can I proceed?

A: For your own implementation you need to create a signed security provider and implement the suite yourself.
You could also try and find a provider that implements this ciphersuite (off topic here, your search engine is as good as mine).
It is not impossible to alter the OpenJDK or trick the system in accepting the unsigned provider if you cannot get the required certificate from Oracle.

A: The IAIK Provider for the Java™ Cryptography Extension (IAIK-JCE) is a set of APIs and implementations of cryptographic functionality. It supports symmetric key cipher suites including this one - TLS_PSK_WITH_AES_128_GCM_SHA256.
Ref: https://jce.iaik.tugraz.at/sic/Products/Public-Key-Infrastructure/JCA_JCE


text:
Arsenal Rumours
Match Reports & Previews
Arsenal News Gooner News
"His form is a symptom of Arsenal's lack of form going forward." Arsenal style blamed for Aubameyang's goal drought
By Admin Martin - 4 December 2020, 13:00
Alan Smith believes the changes that Mikel Arteta made to the way Arsenal plays the game is to blame for Pierre-Emerick Aubameyang's lack of goals.
The Gabonese striker has scored just once from open play, and twice overall in the Premier League this season.
He had netted 22 goals in each of the last two seasons, however, the goals have suddenly dried up with the team also struggling.
Arsenal's big problem before Arteta became their manager was a leaky defence, and the Spaniard has managed to fix that with the Gunners now one of the hardest teams to score against in the Premier League.
But it has come at a price, reckons Smith, who says that they have made it hard for teams to find them exposed when they lose the ball, but they remain toothless in their attack because of that.
"His form is a symptom of Arsenal's lack of form going forward." Smith told Sky Sports.
"Mikel Arteta had to change the way they played, he had to make them more robust, harder to play against, more solid at the back."
He added: "Wherever Arsenal are on the pitch, they always make sure that should they lose the ball, they are not exposed,"
"They've always got that in mind. Arteta works quite hard on that in training. And yes, it's taken away some of that joie de vivre, if you like, that Arsenal have always been associated with going forward."
Arsenal will face Tottenham in the Premier League next and the Gunners will hope that Aubameyang will rediscover his scoring form in that game.
Admin Martin
Tags Alan Smith mikel arteta Pierre-Emerick Aubameyang
Video: Pablo Mari named as a 'leader' but Arteta insists return was forced
Video: Arteta is quizzed on Smith Rowe & how he affects transfer plans
Video: The Arsenal boss continues to defend Willian selection
Vicent2000 says:
Truth is Aubameyang despite his goals for us is a liability to this Arsenal team especially if we re talking about EPL Title, Top 4 ambitions..
He is too slow, soft and also lazy!! A catch-up team like Arsenal needs aggressive strikers such as Raul Jimenez, Richardlison, Mikel Antonio, etc..May not score goals up to Auba but will disorganize defences and pave way for Pepe, Martinelli, Ceballos, etc to score.
Arteta has to be bold..Manage him for this season but 2021/2022, Sell him!!! Also sell Xhaka, Ozil, Mustafi, Sokratis and Lazy n Rubbish Lacazette!!
Get Wilfred Zaha, Andre Silva, John Stones..
Bellerin John Stones Holding Tierney
Maitland Miles Ceballos
Nelson Martinelli Wilfred Zaha
ken1945 says:
Tell us something every single Gooner doesn't know Alan!!! 🤔🤔🤔
jon fox says:
The best pundits and commentators try to give us some insight that perehaps we had not thought of.
The mundane ones merely trot out the general, well known by all opinions. Smithy is not among the ones regarded as anything other than mundane . BORING TOO!
Herb of the Earth says:
The game is played in 3 parts: defense, distribution and attack. When I played as a midfielder (#10). My coach told me to be at training the earliest and leave the latest as I was the brain and bridge of my team. I learnt that I had to distribute and create this constant bridge between attack and defense. I weighed only 107 lb and had to have 2 defensive midfielders called Bulldog and Goliath to shield me – but I was who teams feared. One pass and my school would win games. I got injured and my team was destroyed. We fell 10 places in 6 games. I was devastated. What is the lesson from my life? Arsenal is not going to have an effective attack without a genius or above average #10 – and the Club needs 2 of them. We do not even have one; nor are we trying to groom someone for the position. This is madness. The longer it takes to replace Ozil the more pain we shall endure.
Nice one, Herbs 👍
YES, AS IN £350000 PW for nothing in return type pain!
Never mind Jon, as a realist, you know it was MA who has made the decision to not play him but pay him – at least UE didn't make THAT mistake.
Would love to know exactly what MO is earning per week, now that clauses and bonuses are being leaked by someone who can only be from the very top of the pile at our club – what a way to run a buslness…Sir Henry would approve I'm sure LOL
JohnGunn.er says:
How can ALL the players performed so badly consistently .I blame the coach. I'm tired of seeing my club doing so badly yet we have very good players.
Only one logical conclusion: the coach is not suited for this level.
ARTETA OUT !! The sooner the better because then we can salvage this season
lcw says:
The truth hurts. Blaming all the players all the time gets old. The players can't forget how to play from one day to the other.
With Mikel we are struggling to minnows – at home
But please don't bring in Sarri
Because while we are presently a mid table team he will take us further down.
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Innovations such as telemedicine, virtual reality, Big Data, IoT and robotics are often talked about with confidence, but so far have rarely been experienced in day-to-day practice. However, hospitals will soon see a wave of change defined more by e-health solutions and less by treatment technology.
Health care must move from hospitals towards patient's home – for increased safety, precision and comfort of treatment.
Today's symbol of innovation in hospitals is the da Vinci Surgical System. Despite the cost of around $2 million (the "Si" version), 3100 systems were sold worldwide in 2014, while the year previously the figure was 1000 lower. With its ability to reduce the invasiveness of certain procedures and to improve patient safety, the system is slowly becoming standard equipment in the USA, with surgeons there now making good use of over 2100 da Vinci systems. It is estimated that the surgical robot market will grow to $6.4 billion by 2020, and these numbers are attracting new players. Google has recently partnered with Johnson & Johnson, a pharmaceutical and medical device manufacturer, with the objective of developing a system competitive to the da Vinci.
The most innovative medical and research centres now use remote surgery techniques, virtual visits or clinical decision support systems every day. However, the barriers to accessing these technologies by other hospitals still remain insurmountable. These include limited funds and the deficiency in the know-how and human resources required to use such systems. These are the two key factors behind the painfully slow technological evolution in healthcare. Nevertheless, various other drivers are providing a step-by-step change in the functioning of stationary healthcare centres.
One of the fastest developing areas that certainly has the potential of widespread application is telemedicine. There are three strong arguments for it: remote monitoring to reduce hospitalisation costs; increased patient safety and comfort; demographic changes and epidemiological trends (higher rates of seniors in the population and greater numbers of non-communicable chronic diseases). When the first telemedicine centres began to appear next to hospitals in Europe they looked more like data or call centres rather than medical facilities. "Healthcare is shifting from hospitals to mobile phones," said Lucien Engelen, Director at the ReShape Innovation Center (Radbound University Medical Center, the Netherlands) during eHealth Week 2016. The information collected from the sensors is forwarded 24/7 to processing centres where artificial intelligence systems analyse them online and notify the personnel (nurses and/or doctors) of any alarming changes.
In 20 to 50 years, a hospital visit will only be required when a procedure or operation is necessary. Rehabilitation will be done for the most part at home with the assistance of robots. A good example of this is Riba, an amiable looking robot that can lift an adult with great precision and sensitivity. Designed by the RIKEN-TRI Collaborative Center for Human-Interactive Robot Research, the robot is an answer to a quickly-ageing population and shortages in care personnel. While lifting sick patients can often put the carers' own health at risk, it is not a problem for Riba. Telemedicine solutions are further augmented with virtual visits that are made possible owing to new virtual reality (VR) technologies. Patients will not miss the bricks-and-mortar hospitals because they will be equally safe and comfortable at home. The data collected on individual patient accounts will be analysed day and night by artificial intelligence systems to ensure that health care is provided in a personalised and all-inclusive manner. According to the Global Industry Analysts 2015 report, the global market for virtual reality in healthcare is projected to reach $3.8 billion by 2020. This technology is becoming increasingly popular, especially in learning, psychiatry and rehabilitation.
Many changes will take place in a less striking way than the introduction of robots to hospital wards. Laboratories as we know them will disappear and they will be replaced by real-time diagnostics carried out by innovative sensors, without having to take blood samples for testing. This will unavoidably bring about transformations in a host of medical professions, and so the continuous development of professional qualifications will be required. Learning systems will assist doctors in taking decisions and in conducting procedures. Hospital corridors will become less populated as they will mostly be frequented by robots visiting patients. Virtual visits made with the aid of robots, such as the iRobot developed by InTouch Health, are now conducted in 1500 hospitals worldwide. 3D printers will become standard equipment, making it possible to manufacture the personalised implants used in surgical operations. However, there is still a long way to go before we are able to reproduce human organs applying similar principles.
There is one especially fascinating aspect to all these game-changing solutions – moving care towards the home for increased safety, precision and comfort of treatment.


(Mondays through Fridays) to start the application process.
Click here to download information about the appointment and what you will need to bring with you when you apply.
DCP (formerly WHCA): 664-2424 extension 5908 or 1-800-828-7544 LIHEAP and THAW fuel assistance; Assistance with heating system upgrades (ECIP & CHIP). Website has online forms to view or print. Ask to speak with DCP's "Heat Coach" for help on fuel assistance, heating your home, and making your place more fuel efficient and draft resistant.
Emergency fuel assistance for Calais area residents.
Emergency fuel assistance; Salvation Army assistance for Eastport area residents.
Emergency fuel assistance; Salvation Army assistance.


The Fuse, an energy news and analysis site, recently published an article explaining how blockchain technology is used in the energy sector. Peer-to-peer networks have established marketplaces to connect EV drivers so they can share charging stations with each other.
Residential and commercial EV owners can earn money by allowing other EV drivers to access their charging stations, and drivers have the flexibility to charge their vehicles at different locations. At the end of the day that may result in increasing adoption of electric cars and the reduction of range anxiety. Blockchain technology facilitates other positive developments for the electric vehicle market, including adoption of smart grid technology, larger participation of of different industry players in the charging and utility spaces.