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Pinoy Penman 3.0
The continuing chronicles of Jose Dalisay Jr., aka Butch Dalisay, a Filipino collector of old fountain pens, disused PowerBooks, '50s Hamiltons, creaky cameras and typewriters, VW spare parts, poker bad beats, and desktop lint.
Penman No. 227: The Southern Lights Shine Brightly
Posted on November 29, 2016 by penmanila
Penman for Monday, November 28, 2016
A RECENT gallbladder operation and the stitches in four corners of my belly couldn't stop me from flying down to Iloilo City last week to catch the tail-end of VIVA Excon 2016, which I'd plugged here some time ago but just had to see for myself. The personal reason was that my wife Beng was one of the scheduled speakers, for a session on "Art Conservation and Restoration," but I'd also heard that VIVA Excon was one of the most successful events of its kind in the country ("probably the only surviving and longest-running Filipino biennale," VIVA Excon stalwart and chronicler Cecilia Locsin-Nava would emphasize to me). Here's what I found.
From November 17 to 20, more than 250 artists, speakers, and guests from the Visayas, Mindanao, and Manila gathered at Casa Real in the old provincial capitol of Iloilo to celebrate, interrogate, and propagate art in all its splendorous variety—the important qualifier being that this was new art produced south of Manila. It's been around since 1990, moving around the major capitals of the Visayas such as Cebu, Bacolod, Dumaguete, and of course Iloilo. Surprisingly, it was only the second time that Iloilo hosted VIVA Excon, after a 20-year hiatus, so the local organizers made up for lost time by mounting one of its most vibrant editions ever.
When it started—spurred by the need to create a southern antipode for the arts, given the emergence of such bright new talents as the Negrense painter-sculptor Charlie Co—VIVA Excon had to be funded by the artists themselves, but this year Iloilo's provincial and city government pitched in to guarantee the event's success, with help from a host of sponsors led by the National Commission for Culture and the Arts (NCCA). On top of the local planning was painter Rock Drilon, assisted by a corps of wizards and elves who made sure that the dozens of events on the program went off like clockwork. VIVA Excon originals Ed Defensor, Charlie Co, Peewee Roldan, and Cecilia Nava were also around to lend their wisdom and support.
As its name suggests, VIVA Excon (the "VIVA" stands for Visayas Islands Visual Arts) was at once both an exhibition and a conference. As someone who has helped to organize quite a few literary conferences myself, I was much impressed by the scope and depth of the topics taken up at the conference and by the expertise of the speakers engaged for the occasion, some of them coming from as far as the US, Singapore, and Hong Kong. I missed most of the earlier sessions, but I would have loved to listen to Ma. Victoria "Boots" Herrera speak on "Museum Practices: What Artists Need to Know"; Silvana Diaz on "Creative Economics: Art Management and Economic Viability"; Elvert Bañares on "Creative Crossover: From Visual Art to Cinema and Back—The Visayan Artists' Experience"; Rex Aguado on "Art, the Artist, and the Art Collector"; and Patrick Flores on "Art Criticism—Its Value to the Artist and the Artworld."
Fortunately, I came in time to catch UP art theorist Lisa Ito address issues in writing about the arts—"for what and for whom," she would say, "beyond the popular writing geared toward the art market, and the academic writing produced by scholars and theorists." Lisa felt that more writing should be undertaken to "connect artistic production to social contexts and current realities, and developing publics and communities that validate the vitality of art and culture" as well as to "document design practices and projects and to record transient cultural events for future generations—how communities adapt, such as by using tricycles as mobile galleries and by putting up makeshift museums."
She was followed by New York-based Carina Evangelista whose lecture on "When Forces Shape Form" led the audience to where art has gone far beyond and outside the museum, in performative gestures—often deeply and manifestly political—that emphasized process over product, transience over permanence, and repurposing over originality. (One example: the banknotes that Brazilian artist Cildo Meireles stamped with a political message and circulated in 1970 as a form of mobile graffiti, which nervous recipients couldn't pass on quickly enough, thereby abetting its purpose.) It was truly a semester's worth of material packed into 45 minutes on new forms of art from body mutilation to sound and video installation, reminding me of Marjorie Perloff's lecture on avant-garde poetry just a couple of weeks earlier in Singapore; sometimes you learn the most wonderful things in the oddest places.
Of course, I was happiest and proudest to see Beng onstage walking the audience through the various stages of restoring Amorsolos and Botong Franciscos, and it was clear from the flurry of questions she fielded after her presentation that conservation and restoration were two of the least understood concerns of the art world, yet also two of the most vital if not inevitable. (Sculptor and installation artist Martin Genodepa graciously emceed the presentations.)
Outside the conference hall, three art exhibits were held: a curated one on "Contemporary Art of the Islands" at the UP Visayas Art Gallery, the more freewheeling Visayas Art Fair at Casa Real, and a special retrospective of the late Ilonggo sculptor Timoteo Jumayao at the Museo Iloilo.
The culminating activity of VIVA Excon was the presentation of the Garbo sa Bisaya award to eight outstanding Visayan artists for excellence in their respective fields: painter Antonio Alcoseba (Cebu); scholar and painter Dulce Cuna Anacion (Leyte); film artist Elvert Bañares (Iloilo); film animator Oliver Exmundo (Iloilo); painter Allain Hablo (Iloilo); multimedia artist Manny Montelibano (Negros Occidental); painter Javy Villacin (Cebu); and painter and scholar Reuben Cañete (Cebu).
But I'm sure that all the attendees will agree if I suggest that the best part of VIVA Excon was, ultimately, the company of fellow artists, a fraternity forged over beer and music as much as over linseed oil and plaster. Even if I was little more than an onlooker at the event, I was glad to meet up with old friends and acquaintances like Rock Drilon, whose Mag:Net bar and gallery on Katipunan Avenue used to be one of our favorite hangouts. He moved to Iloilo years ago to take care of his ailing mom, and found himself drawn inextricably into the local art scene, until he realized that he was truly home. "Viva should last beyond the Excon," Rock told me, "so an artists' cooperative has been organized to sustain the energy sparked by VIVA Excon."
Two years from now, the event will be hosted by Roxas City in Capiz. Iloilo could be hard to top, but these Visayans are full of surprises.
Posted in Art & Culture, Friends, Fun, Pinoys, Travel	| Tagged 2016, artists, arts, Excon, Iloilo, painting, VIVA	| Leave a reply
IT WASN'T on the official itinerary, but I have to report that the personal highlight of our recent participation at the Frankfurt Book Fair didn't happen at the fair itself, or even in Frankfurt, but about an hour and a half away by train and bus. This was a plan that a few of us had hatched even before we left Manila: we'd do our jobs and put in our hours in the Philippine booth, then take a day off in pursuit of a pilgrimage that any Pinoy in Frankfurt shouldn't forgo: a visit to Jose Rizal's haunts in Heidelberg and neighboring Wilhelmsfeld.
I've been a lifelong fan of Pepe, not just for his writing skills and love of country (I won't mention his charming ways with the ladies) but also his wanderlust which made him, in my book, the first truly global Filipino. Considering that he didn't live very long, he was still able to do more and see more than most of us do in a full lifetime. The intensity of that life and the excellence he sought at every turn have been enduring inspirations for me, and I've realized that sometimes by design and sometimes by serendipity, I've been tracking his footsteps around the world.
In 2009, my wife Beng and I, along with our daughter Demi and her husband Jerry, had booked ourselves into the Palace Hotel on Market Street in San Francisco, where it took a waiter (a fellow Pinoy, of course) to inform us that Rizal had stayed there during his only visit to America in May 1888, an event commemorated by a marker just outside the hotel, which we had missed.
Two years later, Beng and I visited Rizal's well-kept shrine in Dapitan, where he had spent four fruitful years in exile before being transported back to Manila. How poignant it must have been to catch the sunset along the bay with Josephine Bracken, inflamed and torn by two of the strongest passions to afflict any writer—love and revolution.
And then in 2014, again with Beng, Demi, and Jerry, I sought out some of Rizal's locales in Spain, from Plaza Mayor in Madrid to the Castell de Montjuic in Barcelona, where Rizal had been detained before being shipped back to Manila for trial and eventual execution. (The castle has designated a room, Sala Rizal, in his honor and in memory of the many political prisoners who had spent time in that place—ironically, one of the best spots from which to appreciate the city's beauty.)
There was no question, therefore, that I would make that sortie to Heidelberg, given the once-in-a-lifetime opportunity. Five other sojourners made up our group: National Artist Virgilio "Rio" Almario and his wife Lyn, their daughter Ani and her husband, the geologist CP David, and the poet and Inquirer staff writer Ruey de Vera. Lyn and Ani were attending the book fair on behalf of Adarna House and the Book Development Association of the Philippines, but we all agreed that a visit to Heidelberg was well worth a day off.
Rizal had stayed in various places in Heidelberg and Wilhelmsfeld for much of 1886, marking his 25th birthday there, studying ophthalmology with tutors like Dr. Otto Becker while improving his command of German. When he moved to Wilhelmsfeld—a 12-kilometer walk through the forest that Rizal essayed and even today a 30-minute bus ride from downtown Heidelberg—Rizal boarded with Pastor Karl Ullmer and his family, and it was there that he completed the manuscript of Noli Me Tangere (a feat that, achieved at 25, still astonishes me when I consider the juvenilia most of us still produce at that age).
Rio Almario had visited Heidelberg once before but not Wilhelmsfeld, and the rest of us were total newcomers to the area (I had traveled around Germany and reported on it extensively in 2004, but hadn't gone this far). So it was with giddy enthusiasm that we assembled at the Frankfurt Bahnhof and boarded the 9:20 train to Heidelberg. About an hour later, we were in Heidelberg, where we made a beeline for the information kiosk just outside the train station to buy bus tickets to Wilhelmsfeld. "Filipinos?" asked a clerk at the kiosk, apparently familiar with posses of brown-skinned Asians asking about Jose Rizal, and he whipped out a xeroxed guide to Rizal's known habitations in Heidelberg and Wilhelmsfeld. There were about six of these sites in Heidelberg alone, so we decided to go for Wilhelmsfeld first, given our limited time.
After a pleasant ride along the Neckar River and the lovely autumn scenery (punctuated only by an unexpected stop during which two European bison appeared fairytale-like out of the woods), we reached Wilhelmsfeld, which announced itself in a most unusual way, with a Filipino flag flying abreast of its German counterpart in front of the Rathaus, or town hall (Wilhelmsfeld and Calamba are sister cities). We were in search specifically of the statue that sculptor Anastacio Caedo had made of Rizal in a special park devoted to him. An initial query led us astray, to the wrong church and into a drizzle of hail (magical story elements we couldn't have invented to accentuate our pilgrim status), until a kind lady pointed us in the right direction.
Many shuddering steps later, we arrived at a park overlooking the valley, in the center of which stood Rizal's figure, easily a foot larger than life, as it deserved to be. We celebrated by opening a bottle of Potsdamer beer which CP had brought along for the occasion, and raising a toast to the great wanderer who had preceded us by 130 years but who yet challenged us, as it were, to write a Noli for our own times. After lunch back in Heidelberg, we prepared for another long trek to find his clinic at Bergeimherstrasse, only to realize that we had gotten off on exactly that street, and were only steps away.
Weeks later, a totally unexpected bonus followed. I was in Singapore covering the Writers Festival when fictionist Cathy Torres—a diplomat who was serving with the Philippine Embassy in Berlin after a stint in Singapore, and had also joined us in Frankfurt—casually mentioned to me that Rizal had taken note in his letters of the black elephant statue beside the old Parliament House where the festival was being held. As it turned out, Rizal had visited Singapore four times—the first time in 1882, on what also happened to be the 21-year-old's first trip abroad. The tip prompted me to look up Rizal's Singaporean connections—immortalized in a marker near the Cavenagh Bridge, beside the likes of Ho Chi Minh, Jawaharlal Nehru, and Deng Xiaoping—but what floored me was discovering that he had once stayed at the old Hotel de la Paix at the corner of Coleman and Hill Streets—long gone, but since replaced by the Peninsula-Excelsior Hotel, where I was staying. I felt like I was no longer following Rizal, but he was following me.
In Dapitan, he had written: "I left, scarcely a youth, my land and my affections, and vagrant everywhere, with no qualms, with no terrors, squandered in foreign lands the April of my life." If this was squandering one's youth, what a glorious waste it was.
Posted on November 24, 2016 by penmanila	| Tagged Germany, history, Rizal, Singapore, US	| 1 Reply
Penman No. 225: Sayang in Singapore
Penman for Monday, November 11
TO US Filipinos, sayang has one meaning and one meaning only: a regrettable loss, something that causes us to shake our heads or hold our palms to our hearts and say, "Oh, that's too bad." But elsewhere in the region, from some sultry corner of which the word worked its way up our archipelago, sayang means that and more: the love which may have been that which was lost, love as both a noun and a verb, or even an endearment, depending on the nuances of its intonation. So love and loss—the former all too often trailed by the latter—coexist in this wonderfully complex word, through which we Filipinos can at least claim some vestigial connection to the heart of Asia.
Sayang was very much on people's lips in Singapore last week—you would have thought a lovefest was going on, and in a sense, it was. But the love was for books and literature, the occasion being the Singapore Writers Festival, which I was visiting for the third time after a hiatus of five years. Sayang had been chosen as the festival's theme, and the word was festooned against a suitably floral backdrop all over the Arts House area where most of the festival events took place.
Now on its 19th edition, the SWF began in 1986 as a biennial event, but it has since become a fixture on the regional cultural calendar (alongside the Singapore Arts Festival), cementing the city-state's reputation—like its iconic Merlion—as the fountain of artistic endeavor in this part of the world. (I know what you're thinking: "Shouldn't that be us, the Philippines, with our long tradition of cultural expression and our bountiful artistic talents?" But I'll tell you what festival director Yeow Kai Chai—himself a poet and journalist—told me over lunch: "I can't believe you Filipinos have yet to establish a Department of Culture!")
It was clear, from the minute I stepped out into Changi's arrival area, that the National Arts Council, under Singapore's Ministry of Culture, had once again pulled all the stops to guarantee a pleasant and efficiently managed experience for all SWF attendees, expected to number about 20,000. I was here as a journalist on coverage for the Star (I had attended the SWF as a participant in 2008, and returned to cover it in 2011) and I knew what to expect, but like they say, you never cross the same river twice, and this year's festival offered a steady stream of 300 events spread out over ten days from November 4 to 13. There were over 300 official participants registered, with a hundred of them coming from overseas.
That makes the SWF one of the world's largest and longest festivals of its kind, if not probably the most multilingual one, with its support for literature not just in English but also in Bahasa, Chinese, and other Asian languages. According to Yeow, the goal was to be as inclusive as possible in the SWF's programming, going so far as to offer facilities for the hearing-impaired.
The fullness of the festival programme required selectivity, so I cherry-picked my way through the three days of my stay there, paying special attention to literary developments in Singapore itself. I've often remarked—most recently at a reading in Diliman featuring authors brought over by Ethos Books, one of Singapore's most energetic presses—that the Philippines and Singapore have enjoyed a longstanding "bromance" going down the generations: between F. Sionil Jose and Edwin Thumboo, for example, followed by Krip Yuson and Kirpal Singh, then Joel Toledo and Alvin Pang, to name a few. We've published books together; not too long ago, Isabel Mooney and Lily Rose Tope worked with their Singaporean academic counterparts to edit a landmark anthology of Southeast Asian writing in English. So I wanted to see where things were at.
The first session I attended addressed the diasporic element in Singaporean literature—but unlike our exodus of workers and writers to the far reaches of the planet, this diaspora was inbound, and a voluntary one. Moderated by the Filipino expat poet Eric Tinsay Valles, the panel comprised the Eurasian short story writer Jon Gresham, who had come to Singapore via the UK and Australia; the Filipino fictionist and diplomat Cathy Torres, who had moved from her posting in Singapore to Germany; and the American creative nonfiction expert Robin Hemley, who's married to a Filipina and who now teaches in Singapore.
They discussed how, in the words of Eric, the diaspora could be "a creative space" within which the experience of estrangement could create some positive value. Being away from one's home, the three agreed, made new impressions and expressions possible. The writer's struggle to adjust and adapt was in itself the story. Jon spoke about how "It isn't so much about roots as routes—the journey, the getting there" for the diasporic writer. Adverting to the title story of her debut collection, Mariposa Gang and Other Stories, Cathy observed how "Diasporic stories are like butterflies. They may look alike but no two are truly the same. I try to catch them and send them out into the world."
But the it was the keynote talk by Farish Noor, a Malaysian political scientist and historian who's become something of an intellectual rock star in the region, that both charmed and alarmed the packed chamber where the Singaporean parliament used to meet. Dr. Noor introduced his talk thus:
"How a word can have multiple meanings at the same time, and have their meanings change over time, is an interesting mirror to the unfolding of history. This lecture looks at one word in particular, sayang, charting its path of adaptation from pre-colonial and colonial histories to the post-colonial present; and considering how the changes in its meanings and applications—from fables to novels to cinema and pop culture—tells us more about ourselves, like how our own sensibilities and worldviews have evolved, leading to the postmodern present which we inhabit today. The word remains the same, but do we sayang today as our ancestors did?"
Looking back on how concepts of love evolved over time in the region—including love across species in folklore, and love for the colonial master—Farish noted how "Words are what we have left of the past, and the past is far more complicated—more rich, more deep—than the present. Today, in the age of Facebook, 'love' has been reduced to clicking a 'Like' button."
During his turn in the chamber, Singapore's unofficial poet laureate Edwin Thumboo looked back on a lifetime of literature in his country thus: "Young poets no longer write about nation because the nation has been constructed for them. It's no longer a problem….. It's so easy now to get published but I don't think there's enough revision going on. People are anthologizing like mad. Be patient. Always think you can do better."
The renowned American critic Marjorie Perloff spoke at the last event I attended, and she closed SWF 2016 for me with a rousing challenge: "Avant-garde poetry has crossed the boundaries between the verbal and the visual, but poetry hasn't changed in 70 years the way painting and music have. We need another kind of revolution!"
Many thanks again to my hosts and to my SWF friends—it was all sayang and yet no sayang for me this past weekend. In a coming column, I'll digest two interviews I conducted with Singaporean poet Aaron Lee and our very own Eric Tinsay Valles on what it's like to be a poet in Singapore.
Posted in Art & Culture, books, Education, history, Travel, Writing	| Tagged 2016, books, festival, sayang, Singapore, writers	| Leave a reply
Penman No. 224: Fantastic, Frenetic Frankfurt (2)
Posted on November 7, 2016 by penmanila
Penman for Monday, November 7, 2016
GOING TO the Frankfurt Book Fair was a great opportunity to renew old friendships and make new ones within both the global and Philippine publishing community. While we authors count publishers among our closest and most valuable friends, I realized in Frankfurt that we really don't talk about their side of the business that much, as engrossed as we often are by our own fabulations.
I was particularly happy to finally meet Renuka Chatterjee, who had been India's premier literary agent when she worked for the big Osian's cultural conglomerate in New Delhi. As my first literary agent, Renuka had been instrumental in getting my second novel, Soledad's Sister, translated and published in Italy; but more than that, she guided me through my first textual revisions, through which I began to learn how international publishing worked. When Osian's shut down its literary operation, I passed on to another very capable agent in New York, and Renuka eventually joined another leading publishing house in India, Speaking Tiger. We had corresponded by email over the years, but Frankfurt gave us an excuse and a venue for a long-overdue face-to-face.
Another acquaintance lost and found was the dynamic and groundbreaking Malaysian publisher Amir Muhammad, whom I had first met at a conference in Penang in 1992; Amir gifted me with a new trilogy of Southeast Asian stories he had just published, featuring the works of some of our best young Filipino authors. (Those books—like many others I've gathered on my travels—are now lodged at the Gonzalo Gonzalez Reading Room in UP, where we keep a repository of contemporary Southeast Asian literature.) Indeed, and not surprisingly, the Malaysians became the Philippine delegation's best buddies at the fair; we frequented their booth to partake of the nasi lemak and to trade notes on the writing life. The Indonesians were equally hospitable, and our troop of visitors enjoyed a chat and the inevitable selfie with their star, the novelist Eka Kurniawan, whose Man Tiger made the 2016 Man Booker International Prize long list.
Neither were the long hours at our own booth wasted, as a steady stream of visitors curious about our books and our culture came by to browse, to converse, and to do business. Business, after all, was what most people went to the book fair for, and while some of us minded the store, our delegates were often out meeting with their counterparts from the US, the UK, Europe, and the rest of Asia. (I had a very productive conversation with a gentleman from Montenegro who runs a kind of global blog of blogs—expect "Penman" to appear there soon, but only after it's published here, of course.)
It was the Ateneo University Press' new boss Karina Bolasco's third straight year at the fair, which she had previously attended representing Anvil Publishing. University presses don't generally look at their books as profit-makers, reducing the financial pressure somewhat, but Karina still had a full schedule of meetings with academic publishers, especially longtime Philippine partners such as the University of Wisconsin Press. "Our job is to negotiate for reprint rights," Karina told me. "We try to find material already published abroad that will be interesting to Filipino readers, and we also offer other presses the rights to reprint Filipino works with a global appeal."
One of the most visited displays in the Philippine booth this year was that of Mandaluyong-based OMF Literature, Inc., which has published religious and inspirational books since 1957. OMF CEO Alexander Tan told me that their market was big and growing—extending even to OFWs in the Middle East—and that it had developed its own local stars such as pastor Ronald Molmisa, who draws huge crowds to his lectures on love and relationships. "I realized that by breaking the rules and letting people like Ronald use Taglish in their books, we could reach more readers," Alex said.
On the other hand, literary agents like Andrea Pasion-Flores, who now works with the Singapore-based Jacaranda agency, assume the task of representing Filipino authors abroad and finding publishers to buy their works (and who then assign editors to work closely with the authors on revising their text for publication). Andrea—an accomplished author in her own right who also happens to be a lawyer and the former executive director of the National Book Development Board—is the first and, so far, the only literary agent working actively in the Philippines. Jacaranda has already sold the rights for such distinguished Filipino writers as the late Nick Joaquin, Charlson Ong, Isagani Cruz, and Ichi Batacan (whose Smaller and Smaller Circles will be a movie soon).
Andrea and her Jacaranda colleagues Jayapriya Vasudevan and Helen Mangham spent long working days in Frankfurt at the exclusive Literary Agents section upstairs, which only registered agents (who paid a hefty price for table space) and publishers could theoretically access. But Andrea secured a pass for me so I could observe the frenetic 30-minute "speed-dating" sessions that took place in hundreds of cubicles. "You're probably the only author in this room," Andrea told me. When I asked her what international publishers were looking for from Filipino authors, her response was quick and to the point: "The big novel, more genre fiction, and more high-quality literary fiction—and less ego, please, as Filipino authors generally aren't used to revising their work!"
Back downstairs the next day, my companions at the Philippine booth were surprised to see me in animated conversation in Filipino with a Caucasian lady, whom I was happy to introduce to everyone. Our visitor was Annette Hug, a novelist and translator who had come from her home in Zurich to meet with me and with her publisher at the book fair. Annette—who took her MA in Women's Studies in UP and regularly practices her Filipino with an OFW friend—had just translated a piece I had published last month in the Philippine edition of Esquire magazine, a piece on extrajudicial killings that had somehow gone viral; Annette's translation had come out that same day in a Swiss newspaper and she brought me my copies, fresh off the press. But apart from that sad topic, Annette had also just published a novel in German, Wilhelm Tell in Manila, based on Jose Rizal's work on that Swiss hero's life, and the UP Press will now explore the possibility of publishing a translation of her novel in the Philippines.
Another visitor was children's book author and Palanca Hall of Famer Eugene Evasco, who just happened to be in Munich on a three-month research fellowship, so he took the three-hour train ride to Frankfurt to visit the fair and to take in the mind-blowing displays at the children's literature section.
Of such providential encounters, magnified into the thousands, was the Frankfurt Book Fair made, and while I was there less on business than as a roving cultural ambassador of sorts, I was glad and privileged to tick another item off my bucket list. I've run out of space to talk about an excursion some of us took to trace the footsteps of that quintessential Filipino writer, Jose Rizal, in nearby Heidelberg, so I'll save that for another column soon.
Posted in Art & Culture, books, Business, Education, Fun, Pinoys, Travel, Writing	| Tagged book fair, books, Frankfurt, Germany, publishing	| Leave a reply
Penman for Monday, October 31, 2016
I'VE BEEN to mammoth meetings before—the Modern Languages Association in Chicago, MacWorld in San Francisco, Comic-con in San Diego, for instance—but nothing comes close to the Frankfurt Book Fair in size and scope. Covering over ten hectares of exhibition space spread out over several buildings and many floors, it's certainly the world's biggest and best-known book fair, gathering participants from nearly 200 countries.
Unlike author-focused literary festivals, the vast majority of those participants are publishers, booksellers, editors, literary agents, and printing industry representatives, all looking to make a pitch and a sale of their wares across the globe. That globe may have been made much smaller by the Internet, but nothing still beats a face-to-face transaction with one's possible partners, and that's where a book fair like Frankfurt's comes in, as a week-long physical marketplace where the world's publishers, from the biggest to the smallest ones, all go.
Inevitably a few writers and artists stray into the mix (we spotted David Hockney through a crack in the wall being interviewed at the Taschen booth by German TV), and this year I was one of those lucky few, with some help from the National Commission for Culture and the Arts and the University of the Philippines. Spearheaded by the National Book Development Board and invaluably assisted by the prime advocate of culture and the arts in the Senate, Sen. Loren Legarda, the Philippines expanded and upgraded its representation at FBF 2016, with a much larger booth and an impressive array of books from all our major commercial and academic publishers. The NCCA also sponsored one of our top graphic artists, Manix Abrera, and it didn't hurt that National Artist Virgilio Almario came along in his private capacity to accompany his wife Lyn and daughters Asa and Ani who were representing Adarna Books and the Book Developers Association of the Philippines.
While Filipinos have attended the FBF in dribbles for some time now, it was only this year that we went all out, helped incalculably by our bigger booth. Last year, publishers had to chip in P100,000 each to rent a tiny plot of real estate at the fair, which starts at 400 euros per square meter. Sen. Legarda's timely intervention meant that publishers could put their rental money into bringing more representatives and more books, and our 2016 delegation hit a historic high at over 40 members.
Though not yet quite the pavilion that countries like China and Singapore could afford, our corner booth was colorful and visually attractive—a plus in a fair with thousands of such offerings, all competing for the passing viewer's eye. Through the Ateneo University Press (now headed by Karina Bolasco, formerly of Anvil Publishing), the Philippines also had another albeit smaller booth in another hall as part of the FBF's invitational program, an affirmative-action project that brings in and sponsors selected publishers from developing countries. Predictably, China's exhibit occupied a whole city block (for the price of which they could have gotten a better English editor for their signs, which proclaimed "Chinese Publication").
On the other end of publishing pomp and circumstance, the FBF annually invites and celebrates a Guest of Honor, and this year it was the Netherlands and Flanders, which decked out an enormous hall as a haunting landscape reminiscent of the Dutch flatlands. The Guest of Honor status focuses attention not only on that country's literature but its entire culture and society, providing an opportunity to put one's best foot forward (Dutch royalty attended the opening ceremonies, lending a touch of glamor to the event—and ratcheting up security for everyone). The Guest of Honor also gets to choose a theme for its exhibit, which this year was "This Is What We Share" (last year, New Zealand—on the other side of the world, for Europeans—whimsically chose "While You Were Sleeping"). My fancy tickled, I asked what the Philippines needed to be named Guest of Honor—one can both apply or be invited—and received an unequivocal answer: "Millions of dollars." I shut up.
Its cultural import aside, the book fair means big business for Frankfurt, which, in partnership with the private sector, leases out the fair grounds to such clients as the publishers' association which directly runs the book fair; at other times the venue hosts other big events such as automotive fairs and a forthcoming Justin Bieber concert. Last year the FBF brought in 250,000 participants, a figure the organizers expect to rise to 280,000 in 2016.
This year's edition of the Frankfurt Book Fair is officially the 68th, but it traces its lineage much farther back to medieval times, when friars traded pages of illuminated Biblical manuscripts. There's still a special section of the FBF devoted to the antiquarian trade, to which I gravitated naturally, being interested in all things ancient. Other than this parchment-heavy and leather-bound corner, the FBF dwells and thrives on nothing but new, newer, and newest—new books, new ideas, new authors, new media, new technologies, new markets, new connections, new networks.
Exhibits are grouped by geographic region, by language, and by theme, so one has to roam far and wide to get the full scale of things and to zero in on specific interests. Much of the business at Frankfurt, however, is pre-planned; with table space at a premium, publishers and agents would have emailed each other months or weeks in advance to set up meetings for specific dates and times in Frankfurt.
The publishers of so-called "trade books"—novels, cookbooks, children's books, etc. aimed at the general public—showcase their works to attract attention from international publishers and booksellers who may want to translate them into another language, or to sell the books on consignment in other countries. Academic publishers—this year we were represented by the UP Press, Ateneo de Manila University Press, and UST Press—negotiate among each other for reprint rights, which can make costly works more easily available to local readers.
Led by NBDB Chair Neni Sta. Romana-Cruz, the Philippines launched its exhibit with a reception at its booth on the fair's formal opening on October 19, a well-attended event graced by Ambassador Melita Sta. Maria-Thomeczek (who was happy to recall that she had once been an employee in Rio Almario's Adarna Books and had been a student of Rio's wife Lyn at Maryknoll) and by First Secretary and Consul Cathy Rose Torres, who herself happens to be a prizewinning fictionist. The reception was catered by Maite Hontiveros, who laid out a scrumptious spread that featured lumpia, spoonfuls of adobo on rice, mango juice, and Philippine chocolate, which were clearly a hit among our foreign guests.
Filipino books, of course, remained on top of the menu, and for the next week, we took turns at the booth to entertain visitors and book buyers from other countries, while occasionally slipping out to survey the vast array of exhibits and inevitably to marvel at the scope, vitality, and quality of global publishing in the 21st century. I came away even more convinced that culture is a global battleground, and that books are weapons—of mass instruction, if you will.
Next week, I'll share the highlights of my conversations with key people at the book fair, and report on retracing Rizal's footsteps in Heidelberg.
Posted in Art & Culture, books, Education, Friends, Fun, Pinoys, Travel, Writing	| Tagged 2016, books, fair, Frankfurt, Germany, NBDB, NCCA	| Leave a reply
Flotsam & Jetsam No. 47: Fountain Pen Day Nov. 5-6 at SM Aura
IN CELEBRATION of Fountain Pen Day—marked globally every first Friday of November—Manila's foremost dealers of pens and inks will set up shop on November 5 and 6 at SM Aura Premier in Bonifacio Global City near Toby's Estate on the 3rd floor.
Scribe Writing Essentials, Pen Grafik, Everything Calligraphy, Faber Castell, National Book Store, and Lamy will be showcasing some of the finest brands of pens and inks from Europe, the United States, and Asia.
Handwriting workshops have also been lined up over the weekend. Kids wanting to discover the joy of handwriting can sign up for demonstrations guided by children who themselves use fountain pens for writing and illustration. Local pen restorers and nibmeisters will be present to tune, repair, and appraise pens. Pen lovers wishing to learn more about both vintage and modern pens can pick the brains of seasoned collectors, and students of the ornamental word can interact with expert calligraphers. An art exhibit will feature works rendered in pen and ink by some of the country's best artists. (Some of my best vintage pens will be on display, as will those of other FPN-P members.)
Fountain Pen Day was started in 2012 by American pen collector Cary Yeager. In the Philippines, the Fountain Pen Network-Philippines (www.fpn-p.org) organizes this festival. With over 2,000 members in its Facebook group, FPN-P is a diverse community bound by a shared love for the written word in an increasingly digital age. Its members include writers, lawyers, doctors, teachers, artists, tech professionals, civil servants, and students.
Fountain Pen Day Philippines 2016 is also made possible by the support of SM Aura Premier, PNB Savings Bank and Asia Brewery. For more updates on Fountain Pen Day, go to Instagram and follow @fountainpenday and @fpnph, or interact using hashtag #fpdph2016.
Posted in Art & Culture, Business, Friends, Fun	| Tagged celebration, FPN-P, pens, SM Aura	| 1 Reply
Penman No. 378: My Retirement Library
Penman No. 377: A Harvest of Singaporean Fiction
Penman No. 376: The Other Pepe
Penman No. 375: Delightful Turkey
Penman No. 374: A Pen-Filled Weekend
Family & Me
Pinoys
Fountain Pen Network-Philippines
Panitikan.com.ph
Pen Collectors of America
Philippine Watch Club
PhilMUG
The Fountain Pen Board
Vacumania


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text:
<?php

namespace PHPSemVerChecker\Operation;

class FunctionAdded extends FunctionOperationUnary
{
	/**
	 * @var string
	 */
	protected $code = 'V003';
	/**
	 * @var string
	 */
	protected $reason = 'Function has been added.';
}

redpajama_set_name: RedPajamaGithub


This locomotive was built as works no 2890 in 1943 by Hunslet Engine Company at Leeds as an austerity 0-6-0ST. It then entered service with the War Department as WD 75041.
When built the locomotive was the same as the LNER class J94.
It was renumbered 107 when it moved to the Longmoor Military where it carried the name Foggia.
In the early 1960s the locomotive was withdrawn from service and sold back to Hunslet for modifications.
In 1964 the locomotive was rebuilt by the Hunslet Engine Company and then became Works Number 3882. The rebuild was the result of a bid to meet stringent restrictions on smoke emissions.
Tests on Works Number 3883 demonstrated significant improvements over a standard locomotive with a steaming rate of 12,000lbs/hour being achieved compared with 6,000lbs/hour for an unmodified locomotive.A maximum output of 898hp was recorded, a very impressive figure for what was a shunting locomotive. These tests were the last time a steam locomotive was formally tested by British Railways with a dynamometer car.
After modification and renumbering as No 3882 of 1964, it was bought by the National Coal Board and allocated to Maesteg washery until withdrawal in 1973. Here, it gained the name Maureen.
In 1976, Maureen was purchased privately for preservation and taken to Bristol, before arriving in Devon in 1978. Restoration was completed on the South Devon Railway in 1984 when the locomotive was renamed Barbara in memory of the wife of Dave Phelps, one of the then owners.
The locomotive was purchased for use on the Mid Hants Railway in the late 1990s.
The locomotive was then rebuilt and converted from a saddle tank to an 0-6-0 tender engine. This enabled it to be used as "Douglas" from the Thomas the Tank Engine stories. The tender frame was formerly LMS Fowler 3,500 gallon tender which had been purchased from British Railways.
After several years on the Mid Hants Railway the locomotive was sold to a private owner and was subsequently moved to the Ribble Steam Railway at Preston in 2012.
As part of an overhaul at the Ribble Steam Railway so cosmetic changes to its appearance where made to make it look more authentic.
The locomotive returned to steam numbered 2890 at the Ribble Steam Railway in September 2017.
The locomotive is to be based on the East Lancashire Railway.


ActionAid USA (AAUSA, www.actionaidusa.org) is seeking a dynamic leader with the passion and leadership skills to head this independent chapter of a highly respected international nonprofit organization, ActionAid International (AAI, www.actionaid.org). The ideal candidate will have expertise in human rights and international development as well as experience raising resources and building strategic partnerships to advance a mission-based organization.
A just, equitable and sustainable world in which every person enjoys the right to a life of dignity, freedom from poverty and all forms of oppression.
To achieve social justice, gender equality, and poverty eradication by working with people living in poverty and exclusion, their communities, people's organizations, activists, social movements and supporters.
Support and provide leadership to AAUSA's policy development efforts, in partnership with the policy staff.
Oversee the internal operations, finances and programs to preserve AAUSA's status as a well-managed, fiscally-sound, highly-respected organization and highly-rated nonprofit.
Supervise the Senior Management Team and support their leadership growth to ensure that they are fully equipped to lead their respective teams.
Support the board of directors in its governance role, foster its ongoing development, and partner with it to achieve AAUSA's vision and goals.
We are fully focused on equality and believe deeply in diversity of race, gender, sexual orientation, religion, ethnicity, national origin and other characteristics that make us different. As an organization focused on justice for marginalized communities, ActionAid encourages applicants of all abilities, ages, races, genders and national origins to apply, especially women of color. ActionAid USA offers a competitive salary and a superior benefits package that includes an excellent family leave policy, a variety of health insurance plans, generous paid leave, and a flexible work environment, among others. Relocation allowance will be available for the right candidate.
AAUSA is an Equal Employment Opportunity/Affirmative Action employer.
Salary starting at $125,000 commensurate with experience. Applications reviewed on a rolling basis. Please no phone calls.


The Candy Stripe Kitty blanket is made of a softest pink velour plush fabric and lined with golden tangerine velour. There is a large striped fabric appliqué patch with 2 plastic rings attached to it. It also has a polka dot fabric appliqué with a teething ring attached by a ribbon. The face details are all embroidered. The end of the blanket has "knots" on each corner for your child to grab onto.. The animal heads are stuffed with 100% polyester fiberfill. The blanky measures 29" x 29" . It is machine washable and dryable.


text:
GHANA WORKSHOP ON AADDRESSING THE ROOT CAUSES OF VIOLENT EXTREMISM: A HUMAN SECURITY CONCEPTUAL APPROACH
The Workshop organized by the Kofi Annan International Peacekeeping Training Centre (KAIPTC), Accra, Ghana and the African Centre for the Study and Research on Terrorism (ACSRT) based in Algiers, Algeria with the support of the Spanish Government, 7-8 November, 2016.
Increasingly, Violent Extremism (VE) has mutated into terrorism, becoming a major security concern to governments and organizations such as the African Union (AU) and the Economic Community of West African States (ECOWAS).
While activities of violent extremist groups such as Boko Haram (Nigeria), Al-Shabaab (Somalia), and Al-Qaeda (in the Sahel) are aiming at undermining security of states as attested by the removal of Amadou Toumani Toure from power in 2012, their impact is much greater on human security, as individuals, families and societies continue to bear the brunt of terrorist attacks across Africa. The kidnapping of over 200 Chibok school girls in Nigeria in 2014, as well as the attack against the Westgate Mall in Nairobi, Kenya, that left at least 65 people dead and the killing of 147 students at the Garissa University, April 2015, also in Kenya, show the extent to which violent extremists are shaking the very core of human security in Africa.
Consequently, the seven elements of human security, namely economic, environmental, community, political, food, health and personal security, are being affected in different forms and dimensions across Africa. Food security, for instance, has become a major concern in the Sahel countries such as Mali, Niger and to an extent Northern Nigeria where, as a result of insecurity, agricultural activity has been affected due to reduced mobility, reduced access to raw materials and markets, increased theft of agricultural assets and sharp inflation in the prices of goods, products and services.1 On the other hand, the social environment has become increasingly less cohesive, with internally displaced persons and refugees in neighbouring states. Health conditions of women and children have also been gravely affected. In essence, the core elements of human security in these regions have been
compromised, raising concerns about the need for organizations such the AU and ECOWAS to be more innovative in addressing the menace of VE in Africa.
Against this background, the Algiers-based ACSRT, in collaboration with the KAIPTC, Accra, deemed it important and timely to organize a two-day national workshop on VE with funding support from the Government of Spain, in Accra from 7-8 November 2016. The two-day workshop aimed at addressing the root causes of VE through a human security approach. It brought together speakers from across Africa, including Academics, Security Practitioners, Researchers, Civil Society Organizations and representatives from the AU and ACSRT, as speakers and resource persons. Among the key speakers and representatives were Honourable Prosper Bani, Minister of Interior, Ghana; Air Vice Marshal Griffiths Santrofi Evans, Commandant KAIPTC; Brigadier-General Emmanuel Kotia, Deputy Commandant KAIPTC; H.E Larry Gbevlo Lartey Esq, Director of ACSRT; and Dr Kwesi Aning, Director of the Faculty of Academic Affairs and Research (FAAR), KAIPTC; among others. Almost 70 participants from State Institutions such as the Ministry of Foreign Affairs and Regional Integration, Ministry of Interior, Ministry of Defence, Civil Society Organizations, Religious Organizations, Community Leaders and the Security Agencies, including the Military, Police, National Security Secretariat, Bureau of National Investigation, Immigration and the National Fire Service and academia, also attended the workshop.
The involvement of participants with diverse backgrounds from Ghana was to create a platform for broad national understanding of VE and its relationship with Human Security and, more importantly, help to identify practical and solution-oriented approaches to contribute to managing the threat of VE on the continent. The overall purpose of the workshop were to:
• Provide an opportunity for the relevant government, civil society and local community actors to discuss the concepts of VE and Human Security and share experiences and points of view.
• Provide an opportunity for stakeholders to discuss a Human Security approach to and community participation in the response mechanisms to VE and how this can complement traditional law enforcement methods.
• Examine the phenomena of indoctrination and radicalization within local communities and establish the major attributes and characteristics.
• Review the existing legal instruments, Counter Terrorism and Countering VE (CVE) frameworks and practices at the international, continental, regional and national levels in order to identify existing gaps, as compared to good practices and available lessons learnt, and
• Identify the roles of respective actors at the national, regional and international levels in the prevention and the countering of violent extremism and set out a list of priority of action for group of actors.
• Stronger and coherent CVE policy frameworks and plans of action should be developed at the regional, sub-regional and national levels.
• Human security should be mainstreamed into CVE strategies to ensure that such strategies are people-centred, community-owned, context-specific and comprehensive.
• Good governance, strengthening the rule of law and access to the dispensation of justice in AU member states should be key considerations.
• Strategies and options for addressing VE should seek to address social injustices and vulnerabilities such as poverty, marginalization, illiteracy and unemployment especially among youth and women;
• Disengagement and reintegration tools/mechanisms should be an intrinsic part of strategies and options. Final Report
Posted in: Activity, activity-pic

redpajama_set_name: RedPajamaCommonCrawl


The Global Fortification Data Exchange (GFDx) was recently launched as a new analysis and visualization tool for actionable data on food fortification. This tool was intended to make existing datasets accessible and digestible to decision makers so they are well-equipped to design effective and appropriate policies and programs. The GFDx will help implementers, donors, governments, and other stakeholders better understand the current state of fortification in a given country to make informed decisions on the way forward.


text:
Q: Integrate Jetpack Compose in existing project I'm trying to add compose to my project and encountered this issue:

org.jetbrains.kotlin.backend.common.BackendException: Backend Internal error: Exception during IR lowering
File being compiled: /Users/admin/app/src/main/java/ro/.../DeviceInputFragment.kt
The root cause java.lang.AssertionError was thrown at: org.jetbrains.kotlin.backend.common.ir.IrUtilsKt.copyValueParametersToStatic(IrUtils.kt:264)....

I have the following configuration:

*

*Target and compile sdk set to 32

*composeOptions {
kotlinCompilerExtensionVersion "1.1.1"
}

*kotlinVersion = '1.6.10'

*classpath 'com.android.tools.build:gradle:7.0.4'

*kotlinOptions {
jvmTarget = "1.8"
useIR = true
}

*buildFeatures {
compose = true
}

composeVersion = "1.1.1"
    implementation "androidx.compose.runtime:runtime:$composeVersion"
    implementation "androidx.compose.ui:ui:$composeVersion"
    implementation "androidx.compose.foundation:foundation:$composeVersion"
    implementation "androidx.compose.foundation:foundation-layout:$composeVersion"
    implementation "androidx.compose.material:material:$composeVersion"
    implementation "androidx.compose.runtime:runtime-livedata:$composeVersion"
    implementation "androidx.compose.ui:ui-tooling:$composeVersion"

Maybe you can provide some suggestions.

A: *

*Make sure you add these lines in your android block in build.gradle

android {
 ...

    buildFeatures {
       compose true
    }
    composeOptions {
       kotlinCompilerExtensionVersion '1.0.4'//change this value
       kotlinCompilerVersion '1.5.31' // change this value
    }
}

*Make sure you do not have composable value initialization in the init block of a class

*if nothing works. Delete .gradle .idea and Invalidate Caches and restart

redpajama_set_name: RedPajamaStackExchange


With a USDA Home loan, you have the option to finance in the cost of repairs and some appliances. This is only a possibility if the house appraises for more than the sales price. The sales price plus the cost of repairs/upgrades cannot exceed the appraised value. For example, if sales price is 100k and 2k for appliances, the home must appraise for at least 102k or more.
This program allows the repairs to be financed into your loan and taken care of post closing by a professional contractor. Unfortunately, you are not able to complete these repairs yourself. These are usually minor repairs that must be noted by the appraiser in the appraisal report. The repairs can consist of minor items, such as; replacing carpet, painting, fixing broken windows, fixing non-working toilets, etc. You will need to obtain an actual bid from a professional contractor to show the estimated cost to fix the repair items the appraiser is requiring for the property to meet minimum guidelines. The bid needs to have your name, list items to be fixed, cost of items, on contractor letterhead, contractor name and mailing address. The cost shown in the contractor's bid will be financed into the loan and held in escrow. The contractor will receive 50% of their estimated bid at closing and the remaining amount after the work is completed. To determine the work has been completed, we will send the appraiser back out to the property to complete a final inspection and take photos . Upon our receipt of the final inspection, the contractor is released the rest of their funds by regular mail.
The only allowed upgrades are for the following appliances: refrigerator, stove/range, microwave, and dishwasher. You will need to obtain a quote from the store you wish to purchase the appliances from. The quote must have your name, the subject property address, list items being purchased, cost for items, and reflect company name. The amount shown on the quote will be financed into the loan amount. You will receive a check at closing made payable to the appliance store. You can take the check into the store and purchase your appliances. Once the appliances are delivered, you will need to obtain a copy of the delivery confirmation showing the appliances have been delivered to the subject property address. Finally, you will submit a copy of the paid receipt and delivery confirmation to us to complete the requirements for the loan.


Chris Brown by Rebecca Lattanzio F.A.M.E. stands for � forgiving all my enemies� and �fans are my everything� according to the R&B superstar, Chris Brown, who just released his fourth studio album since coming on to the scene in 2005.... Participate in the Official Fan Club of Jason Aldean and connect with your favorite musician and enjoy exclusive members-only benefits including presale tickets and much more.
Future and Chris Brown Join Forces in "PIE" Visual RESPECT.
Click the "Singing Search" to start recording your search. Sing or hum your search. For best results, keep the volume bar in the green, record 10 seconds or more of the tune, and avoid background noise.
Participate in the Official Fan Club of Jason Aldean and connect with your favorite musician and enjoy exclusive members-only benefits including presale tickets and much more.


text:
HomeinteragerThe Interager Definition and Meanings
The Interager Definition and Meanings
The interager is a new term that is popping up in the online world. It's meaning has been debated and discussed on social media outlets such as Twitter and Facebook, but there are still no solid conclusions. What we do know is that it's not just one word - interager- but two words: inter and ager. The inter part of the word refers to something being between while the ager part means youth or age. So what does this mean? Well, an interager could be someone who is in between adolescence and adulthood or someone who is experiencing both old age and youth at once!
interage
US Pronunciation
US IPA
[eyj]
/eɪdʒ/
Definitions of interage word
noun interage
the length of time during which a being or thing has existed; length of life or existence to the time spoken of or referred to: trees of unknown age; His age is 20 years.
a period of human life, measured by years from birth, usually marked by a certain stage or degree of mental or physical development and involving legal responsibility and capacity: the age of discretion; the age of consent; The state raised the drinking age from 18 to 21 years.
the particular period of life at which a person becomes naturally or conventionally qualified or disqualified for anything: He was over age for military duty.
one of the periods or stages of human life: a person of middle age.
advanced years; old age: His eyes were dim with age.
a particular period of history, as distinguished from others; a historical epoch: the age of Pericles; the Stone Age; the age of electronic communications.
The Interager is a word that was made up by the character of "John" from the TV show Friends. He used this word to describe his feelings when he's interacting with someone.
The term has been used in other contexts, but it seems to be mostly used on social media sites like Facebook and Twitter to describe what you're feeling while communicating online.
For example: "I'm feeling really happy right now because I just got a new follower!"
interage in the English dictionary
past tense: interaged; past participle: interaged British English vernacular spelling of "interest"
to interest someone | to become interested in/in something | to be interesting to somebody.
the feeling of being interested in something
interesse (noun, verb)
Italian [f. L inter-] interest; from Latin interest , third person singular present indicative of interresse .
Definition of 'interage
verb to become involved or emotionally affected by something. Origin 20th century: from Latin inter- 'between' + agere 'drive' – more at agent . See -er , agee & agit. Related forms interager, noun
Interagers definition and meaning | Collins English Dictionary Define the word "interagers" in context by using a dictionary entry (Collins). Learn with flashcards, games and more — for free. What are some examples of an interfacer? | Reference com The term 'interface' was first used by the British computer designer Tom
Symbolics. The name was chosen because it represented their goal of designing an external facing surface that would "interface" with the customer and provide a consistent, user-friendly way to interact with complex software applications. en.wikipedia.org/wiki/Interfaces_(computing) & wikipedia .org / wiki / Interager
What are some examples of an interfacer? | Reference com An interfacemaker is someone (or something) who designs interfaces for computers or other machines.. This word has been used in context since 1980s; however, this isn't even recognized as one type of job title officially recognized by anyone yet! en.wikipedia.org/wiki
GRAMMATICAL CATEGORY OF INTERAGE
interage is a noun | Nouns are often the names of people, animals, places, objects or events. English language quiz & worksheet - Tests grammar rules Grammatical category of interager is used to form adverbs . The word "interager" can be categorized as an adjective since it describes another noun in our sentence (adjective). en.wiktionary.org/wiki/-agere-interesse-ages & wikipedia .org/ wiki / Interager
INTERAGE VS INTERACTER vs INTRAGE Definition and Usage | Difference Between Interagers , interfacers , intragers all refer to one thing that many people do when they're on
Interage definition and meaning - English - Collins Dictionary
past tense: interaged; past participle: interaged British English vernacular spelling of "interest" to interest someone | to become interested in/in something | to be interesting to somebody.
Interesse Definition and Meaning - Literary Devices
The term 'interface' was first used by the British computer designer Tom . Symonds. The name was chosen because it represented their goal of designing an external facing surface that would "interface" with the customer and provide a consistent, user-friendly way to interact with complex software applications.
interager


I don't have an issue with someone seeing something on YouTube and putting it on Instructables as long as credit is given to each piece of the original author's work. I don't frequent YouTube but do browse Instructables. But to duplicate an Instructable and take full credit is ridiculous.
Hey bro, you totaly stole this idea from the Youtube user "Nighthawkinlight." You even stole the thumbnail off of his video. You should not try to pass other people's ideas off as your own.
Not sure why everyone is getting heated up about this being taken from YouTube. This is just a minor variation on a toy I used to make more than 30 years ago so the YouTube video isn't original either. Nice that someone took the time to make some instructions though.


text:
Fiction Science Fiction Classics Romance Mystery Nonfiction Poetry Religion Historical Christian
English Indonesian German Italian Dutch Catalan; Valencian Spanish Malay Portuguese Turkish
Tibor Fischer Clifford D. Simak William Shakespeare Eloisa James Hans Keilson Fredric Brown Eric G. Wilson Kenneth Rexroth Murasaki Shikibu Christopher J.H. Wright
The Complete Maus
Combined for the first time here are Maus I: A Survivor's Tale and Maus II - the complete story of Vladek Spiegelman and his wife, living and surviving in Hitler's Europe. By addressing the horror of the Holocaust through cartoons, the author captures the everyday reality of fear and is able to explore the guilt, relief and extraordinary sensation of survival - and how the children of survivors are in their own way affected by the trials of their parents. A contemporary classic of immeasurable significance.
Read Online The Complete Maus
This was real and I can't even explain how this affected me because it was the most emotional thing I've ever read. The love shown between Vladek and Anja mesmerized me and broke my heart seeing them go through so much cruelty and suffering. The Complete Maus are two graphic novels combined to form the story of Vladek Spiegelman's life during World War 2. are meant to self-destruct in my book and I think they do self-destruct." One of my favourite parts of Maus was the relationship between Art and Vladek. Even so, Art and Vladek have a pretty normal father/son relationship. I felt so bad for Vladek at times with the way Art would treat him but it was a normal father/son relationship in the way that sons don't always treat their fathers the best. The love Art and Vladek had for each other. I loved the little funny moments in the novel, like when Vladek throws out Art's coat and gives him a "warm" coat, which Art hates because it isn't fashionable. At that moment, I had to stop myself from crying because after reading his incredible story, I saw a picture of the actual Vladek.
...I knew that it was a graphic novel referring about the Jew Holocaust, but using mice (Jews) and cats (Nazis) as the characters,... ...and even while I was sure that it will be a crude telling, I didnt expect that the only difference between reality and this graphic novel would be the choice of using animals as the characters in the story. However, definitely the graphic format of this story makes possible for readers to be witness from the begining until the end (and even further) of the whole tragic and cruel process of what Jews endured (and not many were able to get out alive from it) during the World War II. Also, Art Spiegelman, the author, was bold showing how hard was to live with his father, Vladek Spielgelman (the main character in the Holocaust parts), Vladek wasnt a saint (and after all, how many of us really is?) with not only crazy habits but even racist thinking against afro-american people. Art Spiegelman is a character in the story too, and while he is a whole better as person than his father, he doesnt portrait himself as a saint and you can appreciate how even at some moments, he does some kinda unfair actions, since after all, he is human too.
Cat on mouse violence is so old and pervasive that, in a way, weve become desensitized to it. Original: Mar 9, 2012 ------------------------ Addendum: Aug 23, 2013 This still ranks as my top graphic novel of all time, but I just finished Chris Ware's Building Stories which gives it a pretty good run for the money.
Most likely did I read graphic novels which didn't suit my personal tastes, but Art Spiegelman was capable of shattering my expectations and completely stunning me with the art of his writing and his illustrations. Maus is a collection of two graphic novels with autobiographical background about the author, Art Spiegelman, and his father's recollections about his experiences in the Second World War. Spiegelman constantly switches between present and past, between the time when he writes down what his father tells him and the time when all the horrible events in the concentration camps took place. Art and his father appear in such a realistic way that you can't help but care for them; something which never happened to me before in a book with autobiographical content.
I have read and seen both fiction and non-fiction accounts of life during WWII. Basically everyone should read this or at least some stories of the war.
Maus, a massive graphic novel, thirteen years in the making, depicts the complicated relationship between Art and his father, the very process of creating Maus, and, in an interlocked way, Vladeks experience, living in Poland during the rise and fall of the Third Reich. The films that remain from that time the ones that were shown during the Nuremberg trial are tough to watch, haunting, almost impossible to put into words.
Spiegelman figlio intervista Spiegelman padre sulla Shoah (la madre è morta suicida, il fratello maggiore è morto avvelenato dalla zia, anche lei suicida, per evitargli lorrore del campo di sterminio). In ogni caso, è una storia che bisogna continuare a raccontare, che non bisogna dimenticare. A Spiegelman è stato chiesto se non gli sembrava di cattivo gusto mettere in fumetti la tragedia dellOlocausto.
In the narrative present, Art Spiegelman (author) is interviewing his father Vladek about his experiences as a Polish Jew and a Holocaust survivor. We knew the stories - that they will gas us and throw us in the ovens. It allows the reader to gain a deeper understanding of how the camps were run and what it was like for the prisoners.
The Portable Dante...
The scope and fire of Dante's genius in a single volume.Includes "The Divine Comedy," "The New Life," and other selec...
The Lord Chandos Letter: And Other Writings...
Hugo von Hoffmannsthal made his mark as a poet, as a playwright, and as the librettist for Richard Strausss greatest ...
Defeat: Napoleon's Russian Campaign...
Meeting only sporadic opposition and defeating it easily along the way, the huge army moved forward, advancing ineluc...
The Depths of Time...
Time is of the essence when you're stranded in the future....
The settled universe is filled with terraformed w...
Philosophy and the Real World: An Introduction to ...
Philosophy and the Real World: An Introduction to Karl Popper Book Description Bryan Magee has contributed to Philoso...
My Fathers' Daughter...
In 1974 Hannah Pool was adopted from an orphanage in Eritrea and brought to England by her white adoptive father.
Publish Date: October 2nd 2003 by Penguin Books


text:
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Baseball bats are designed using different materials such as aluminum, wood and graphite just to mention a few. For most players who are training to improve their playing skills, going for wooden baseball bats is a better option.
Because wooden baseball bats are easy to swing, they are lightweight and come at affordable prices.
Not to mention their durable construction. A good wooden baseball bat like the BB-W Wooden Baseball Bat is a perfect pick if you are looking for a quality bat.
This bat uses composite wood in making. This material guarantees you better performance and durability.
As compared to a regular bat, this bat is smaller in size making it perfect for other types of uses apart from playing baseball.
If you are looking for a small baseball bat for hitting balls, smashing beer cans, cracking nuts or for protection, this bat can be of great help.
The bat is designed to provide you with a great compact feel for a smaller hitter, and it is also designed to last for long.
Here are some of the best characteristics of this small baseball bat.
There are many advantages that you will get when you are swinging a lightweight baseball bat. Meaning, you do not need to use a lot of force when you are hitting the ball.
Lightweight wood goes into designing this bat which it very easy to swing even for people who do not have more strength.
When you are purchasing a baseball bat, it is important to look for a product that gives you a nice and sturdy feeling. This is the feel when you are using this bat. It is made to provide you with a nice grip hence offering with a nice time when you are using this bat.
One of the best materials that are used to make strong and durable baseball bats is composite wood. You can be sure that this baseball bat will last for many years even when you are using it daily. Unlike other wooden baseball bats, this is a product that doesn't break easily. The wood finish also provides it with an excellent look making it attractive.
A good baseball bat doesn't necessary reflect a high price. There are so many bats on the market that follow a design pattern with quality materials, yet they are affordable. This bat belongs to the group. If you are on a budget and want a cheap and highly functional bat that will serve its purpose, do not have second thoughts when you are purchasing this baseball bat.
Young players who want to sharpen their playing skills can make good use of this baseball bat. In fact, I bought this bat for my nephew and it works incredibly perfect for him. You can buy it too if you want him or her to train with a bat that is ideal for them.
Q: Can somebody please tell me the length of this baseball bat?
A: This is a nice baseball bat with a length of 32 inches. I hope you find this helpful.
Q: What is the barrel diameter of this baseball bat?
A: I bought this baseball bat sometimes back, and it has a barrel circumference of 6 inches, and the diameter of the bat is about 2 inches.
Q: Hoe id the grip of the handle of this baseball bat? Anyone who has used this bat?
A: I have this baseball bat, and all I can say is that I'm impressed with the handle of the bat. It is comfortable, unlike other bats that I have owned before.
You need to get this versatile baseball bat because it will help you do other activities as mentioned earlier in this article apart from hitting the ball.
If you have a junior who is passionate about playing baseball, you can get them this baseball bat so that they can begin training and improving their skills consistently.
This wooden baseball bat is strong and sturdy. If you need a lightweight bat for protection, this one will serve that purpose. You can buy this bat and experience its unique performance when hitting the ball.
It also comes at pocket-friendly prices.


text:
. In seguito ha rappresentato Porto Rico a Miss Universo 2005, concorso che si è tenuto il 31 maggio 2005 a Bangkok. In quell'occasione, Cynthia Olavarria si è classificata alla seconda posizione, dietro alla vincitrice, la canadese Natalie Glebova. In precedenza la modella portoricana aveva già partecipato a Miss Porto Rico nel 2003, ed in quell'occasione si era classificata soltanto alla seconda posizione. All'età di sedici anni si era inoltre piazzata al terzo posto al concorso Elite Model Look Puerto Rico.

Dopo l'esperienza nei concorsi di bellezza, Cynthia Olavarria ha intrapreso la carriera di conduttrice televisiva e di attrice. Nel 2007 ha condotto sul canale Univision il reality show  Nuestra Belleza Latina, Dal 2010 invece lavora come corrispondente per la trasmissione di informazione Acceso Maximo, in onda su Galavision. Ha inoltre condotto uno speciale su Miss Universo 2008, Dayana Mendoza. Il suo debutto come attrice è invece avvenuto nel 2005 con la miniserie Cuando el Universo Conspira. È inoltre comparsa in Mi adorada Malena (2007) e Alguien te mira (2010).

Collegamenti esterni

Miss Porto Rico
Concorrenti di Miss Universo 2005

redpajama_set_name: RedPajamaWikipedia


Despite his deeply felt remorse over the loss of Jonathan Strange's wife, Major Grant's patience for the man was wearing thin. He didn't wish to hear another word about the supposed magical advantages that might be acquired through induced madness, though Strange had been ranting on the subject for the entire duration of the carriage ride. In his wild-eyed fervor — with his hair as unkempt as Grant had ever seen it, his unshaven face, and his sunken eyes betraying his definite lack of adequate sleep — Grant suspected that the man was already nearer to his goal than he understood.
Prompt: Grant actually gets Strange released from gaol. However he clearly cannot let his dirty, unstable, slandered, recently bereft, magically powerful army buddy go wandering around London. So he takes Strange home with him.


text:
Q: How to prevent a filter textbox in Syncfusion ASP.Net Webforms Grid from sending server-side requests? I am using the latest version of WebForms Grid from Syncfusion in an ASP.Net Webforms 4.0 website.
The binding is done using WebMethod i.e. ajax-enabled web service. The markup of this grid is as below.
The problem is when I filter on Product Name column and start to type into the filter box of Product Name, then the grid sends a request to server for  matching product names for each character typed. I do not want this so that the user can type into the filter text box without any server-side requests slowing the user's typing.
Question : How can I prevent the filter text box for Product Name from sending a server request as user types into the text box? I tried searching their documentation for some grid property to solve this but could not find any.

Markup of Webforms Grid from Syncfusion
<ej:Grid ID="Grid1" runat="server" AllowFiltering="True" AllowPaging="True" AllowSorting="True" >
    <DataManager Adaptor="WebMethodAdaptor" URL="WebService1.asmx/GetProducts"   />
    <Columns>
        <ej:Column Field="ProductId"  Width="200" HeaderText="Product ID" AllowFiltering="true"></ej:Column>
        <ej:Column Field="ProductName" Width="200" HeaderText="Product Name" AllowFiltering="true"  ></ej:Column>
        <ej:Column Field="UnitPrice" Width="200" HeaderText="Unit Price" Format="{0:c}" AllowFiltering="true"></ej:Column>
        <ej:Column Field="UnitsInStock"  Width="200" HeaderText="Units in Stock" AllowFiltering="true"></ej:Column>
    </Columns>
    <PageSettings Template=""></PageSettings>
    <RowDropSettings DropTargetID="" DropMapper=""></RowDropSettings>
    <ScrollSettings EnableTouchScroll="False"></ScrollSettings>
    <FilterSettings FilterType="Menu" EnableCaseSensitivity="false"></FilterSettings>
</ej:Grid>

A: We have analyzed your query and we have achieved your requirement by using DataBound event of grid and ejDataManger. Since we have bound the whole data from code behind to the ejDataManager and assigned it to the dataSource property of ejAutocomplete. Now when we focus to the autocomplete we have bound the data to the autocomplete dataSource and if we choose any data it will prevent from POST. Since the whole data has been retrieved as local data.
Please refer the below code example,
[Default.aspx]
  <ej:Grid ID="Grid1" runat="server" AllowFiltering="True"  AllowPaging="True"…

   <ClientSideEvents DataBound="databound"/>

   …

     <script type="text/javascript">
     var b;
    function databound(args) {
         setTimeout(function () {
            var dataManager = ej.DataManager({ url: "WebService1.asmx/HelloWorld", offline: true, adaptor: "UrlAdaptor" });
            var promise = dataManager.executeQuery(new ej.Query());
            promise.done(function (e) {
            var a =
   $("#MainContent_Grid1_acString").ejAutocomplete("instance");
                b = e.result;

            });
         promise.fail(function (s) {
                  console.log(s)
    })
  $("#MainContent_Grid1_acString").ejAutocomplete({ focusIn: "change" });
        }, 600);
    }
        function change(args) {
            var a =          $("#MainContent_Grid1_acString").ejAutocomplete("instance");
            a.model.dataSource = b;          //Passed the data as local when we focusIn the autocomplete
        }
</script>

[WebService1.asmx.cs]
 [WebMethod]

      public IEnumerable HelloWorld()

    {

        SqlConnection myConnection = new SqlConnection(ConfigurationManager.ConnectionStrings["NORTHWNDConnectionString"].ToString());
        …

        IEnumerable order = (from DataRow row in dt.Rows
                             select new Products
                             {
                                 ProductId = Convert.ToInt32(row["ProductId"]),
                                 ProductName = row["ProductName"].ToString(),
                                 UnitPrice = Convert.ToDouble(row["UnitPrice"]),
                                 UnitsInStock = Convert.ToInt32(row["UnitsInStock"])
                             }).ToList();

        return order;
    }

In the above code we have initialized one method in code behind and return the result alone to bind the data to the autocomplete.


text:
Open Source Developer Corrupts Widely-Used Libraries
Abs	Posted on January 10, 2022
A developer appears to have purposefully corrupted a pair of open-source libraries on GitHub and software registry npm, faker.js and colors.js, that thousands of users depend on, rendering any project that contains these libraries useless, as reported by Bleeping Computer. While it looks like color.js has been updated to a working version, faker.js still appears to be affected, but the issue can be worked around by downgrading to a previous version.
The faker.js Readme file has also been changed to "What really happened with Aaron Swartz?" Swartz was a prominent developer who helped establish Creative Commons, RSS, and Reddit. In 2011, Swartz was charged for stealing documents from the academic database JSTOR with the purpose of making them free to access, and later committed suicide in 2013. Squires' mention of Swartz could potentially refer to conspiracy theories surrounding his death.
Bleeping Computer found that the developer of these two libraries, Marak Squires, introduced a malignant commit to colors.js that adds "a new American flag module," as well as rolled out version 6.6.6 of faker.js, triggering the same destructive turn of events. The sabotaged versions cause applications to infinitely output strange letters and symbols, beginning with three lines of text that read "LIBERTY LIBERTY LIBERTY."
A number of users, including some working with Amazon's Cloud Development Kit, turned to GitHub's bug tracking system to voice their concerns about the issue. And since faker.js sees nearly 2.5 million weekly downloads on npm, and color.js gets about 22.4 million downloads per week, the effects of the corruption are likely far-reaching. For context, faker.js generates fake data for demos, color.js adds colors to javascript consoles.
In response to the problem, Squires posted an update on GitHub to address the "zalgo issue," which refers to the glitchy text that the corrupt files produce. "It's come to our attention that there is a zalgo bug in the v1.4.44-liberty-2 release of colors," Squires writes in a presumably sarcastic way. "Please know we are working right now to fix the situation and will have a resolution shortly."
Two days after pushing the corrupt update to faker.js, Squires later sent out a tweet noting he's been suspended from GitHub, despite storing hundreds of projects on the site. Judging by the changelog on both faker.js and colors.js, however, it looks like his suspension has already been lifted.
Squires introduced the faker.js commit on January 4th, got banned on January 6th, and didn't introduce the "liberty" version of colors.js until January 7th. It's unclear whether Squires' account has been banned again. The Verge reached out to GitHub with a request for comment but didn't immediately hear back.
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text:
What is the music of Wayang Kulit? |
Wayang kulit is an Indonesian form of shadow theatre. It tells stories from Hindu and Buddhist mythology through a series of dances, with each dance representing a different character in the story. The movements are so precise that they require years to perfect them. Music plays an integral role in wayang kulit, providing both the structure for its composition as well as lyrics on which performers base their solo performances.
Wayang kulit is a type of shadow puppet theater from Indonesia. The principles of wayang kulit are the same as those for any other theatrical performance, but with some unique features.
Wayang Kulit Gamelan Performance
The gamelan orchestra plays an important role in wayang kulit performances. The music virtually never stops throughout the all-night show, however the number of instruments that play may fluctuate. The kendhang determines the beat of the music and the movements of the puppets.
So, what exactly is kulit in Wayang?
Wayang kulit is an Indonesian traditional puppet-shadow performance that originated in the cultures of Java, Bali, and Lombok. The puppet figures are rear-projected on a tight linen screen with a coconut-oil (or electric) light in a wayang kulit performance.
The issue then becomes, what instruments are utilized in wayang kulit? Wayang Kulit (Wayang Kulit) is a Gedombak, serunai, gedok, and kesi are musical instruments. Wayang Kulit's musical fusion creates a distinct diversity in its presentations.
Similarly, what is the composition of wayang kulit?
Wayang kulit are two-dimensional stick puppets with moving arms, mouth, and legs fashioned of leather. Wayang simply means puppet, while kulit refers to the material used to make them, which is leather.
What distinguishes gamelan music from other forms of music?
The following are characteristics of gamelan music:
The longer the note values, the lower the pitch.
The uppermost tiers are reserved for virtuoso solo instruments that use shorter notes.
Beginners often use the lowest gongs.
The music is separated into four keteg beat groupings.
What is the significance of wayang kulit?
Wayang kulit, or shadow puppet shows, are popular not just in Bali but across Indonesia. The wayang kulit is much more than just a kind of entertainment; it is an immensely significant cultural vehicle, acting as a carrier of myth, morality play, and a type of religious experience all wrapped into one.
Who is the most significant individual in the performance of wayang kulit?
Four clowns, also performed by the dalang, interpret and remark on the Balinese tales for the benefit of the audience. Clowns are the most essential characters in the story. Tualen and his son Mendah, Pandaw servants, and Delem and Sangut, Korawa servants, are the characters in the Mahabarata legends.
When did wayang kulit come into being?
The tenth century
Who are the wayang kulit performers?
In the area, there are also other types of wayang that use three-dimensional puppets or even human performers. Wayang kulit's flat puppets are lavishly gilded and painted. There may be hundreds of them in a single act, depicting gods, monarchs, soldiers, hermits, ogres, clowns, and more.
Is there a nation that has anything comparable to the wayang kulit?
What distinguishes wayang kulit from other types of kulit?
Wayang Figures Have Unique Characteristics
The eyes range in size and form from tiny, half-closed halus characters to large, rounded, and wide-open kasar characters.
The brows: most halus figures' brows are a simple, thin curving line.
The halus characters' noses are slender, straight, and pointed, with small nostrils.
What is Indonesia's shadow puppet?
In Indonesia, shadow puppet theatre is known as wayang, and it tells a dramatic tale using shadow puppets and sometimes human people. Because the puppet is composed of tiny perforated leather sheets produced from buffalo skin, the term kulit means "skin."
In Indonesian theater, what is Dalang?
In an Indonesian wayang performance, the dhalang or dalang (Javanese: dhalang; Indonesian and Malay: dalang) is the puppeteer. The dalang is in charge of delivering signals to the gamelan in addition to manipulating the puppets and reciting their lines.
How are shadow puppets manufactured in Indonesia?
Indonesian puppet theater is divided into two types: Wayang Golek and Wayang Kulit. Rod puppets made of wood and fabric are known as Wayang Golek, while shadow puppets made of leather are known as Wayang Kulit. The puppet bodies' sticks are inserted into the banana trunk at the stage's base, and the dalang moves the arms and legs.
In a Javanese shadow puppetry performance, who and how guides the musicians?
In a Javanese shadow puppetry performance, who and how guides the musicians? The puppeteer. There are metal plaques that hang from the puppet's chest which the puppeteer controls with the toes of his right foot.
What is a gamelan orchestra, and how does it work?
Gamelan Orchestra is a kind of Indonesian orchestra. Gamelan, the Indonesian name for a traditional musical group, usually refers to a percussion orchestra made up of of different kinds of tuned gongs and metal-keyed instruments. The presence of a group from outside the West in an academic context serves a number of purposes.
What are the differences between the two forms of gamelan?
The pelong and slendro scales are the two most common varieties of gamelan scales. Pelong is a septatonic scale that is younger than the slendro scale. In pelong, gamelan normally only employs five of the seven tones.
What is the best way to learn gamelan?
Gamelan, like a lot of traditional eastern music, is taught by rote and handed down from guru to student. A new piece is usually taught in short phrases by one guru and one or two helpers during a session. The lead musician is taught the opening line first, and he tries his best to imitate it.
Wayang kulit is a type of shadow puppet theater that originated in Java. Wayang kulit tells stories from the Mahabharata, Ramayana and other Hindu epics. Reference: why ang kulit puppet.
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The Amble hotels listed below are either in the town or we have given a rough guide as to how far they are from Amble. We hope you enjoy your stay and find your ideal accommodation.
For hotels accommodation in other areas near to Amble Northumberland see Alnmouth hotels & Ashington hotels.