text:
Javone Prince is a British comedian and actor. He has appeared in many British comedy television shows, such as Horrible Histories, Sorry, I've Got No Head and Little Miss Jocelyn. He also Featured in The Dumping Ground as the character Lethal G. Prince is best known for starring as Jerwayne in PhoneShop.  Prince also appears in several theatre productions including, Measure for Measure, Titus Andronicus and Richard III. He trained at LAMDA and is currently a member of the National Theatre.

In July and August 2015, Prince's eponymous sketch show The Javone Prince Show was shown on BBC Two.

Filmography
Murder Prevention (1 episode, 2004) as Adam Yorke
Manderlay (2005) as Jack
According to Bex (1 episode, 2005) as Vox Pops
Mumbo Jumbo (2005) as Gool
The Judge (2005) as Afrikansk mand
The Tiger and the Snow (2005) as Soldato americano
Little Miss Jocelyn (3 episodes, 2006–2008)
The Verdict (5 episodes, 2007) as Damien Scott
Angelo's (3 episodes, 2007) as Mickey P
Tittybangbang (1 episode, 2007)
The Bill (1 episode, 2008) as Damon Watt
Horrible Histories (8 episodes, 2009) as Various
Comedy Showcase (1 episode, 2009) as Jerwayne
Rev. (1 episode, 2010) as Policeman Lloyd
Hotel Trubble (1 episode, 2010) as Z Dogg
PhoneShop (16 episodes, 2010–2013) as Jerwayne
Sorry, I've Got No Head (12 episodes, 2011) as Various, including Eddie Big & Olaff
My Family (3 episodes, 2002–2011) as Customer and Matt
At Home with Beyonce (2011) as Jay Z
Life's Too Short (2011) as Passer-by
Plebs (2013) as Bouncer
Quick Cuts (2 episodes, 2013)
The Javone Prince Show (2015) as himself (Nominated—British Academy Television Award for Best Male Comedy Performance)
Flat TV (5 episodes, 2014–2016) as Carl
Hank Zipzer as Mr Joy (2015–2016)
Hank Zipzer's Christmas Catastrophe as Mr Joy (2016)
The School that Got Teens Reading as presenter (2016)
Find Me in Paris as Oscar (2018–present)
The Dumping Ground as Lethal G (2019)
No Time to Die - James Bond Movie A Counter Don
Dodger as PC Blathers (2022)

References

External links

 Javone Prince's United Agents Profile

Living people
Black British male actors
British male comedians
British male television actors
English people of Ghanaian descent
British male Shakespearean actors
Year of birth missing (living people)

redpajama_set_name: RedPajamaWikipedia


text:
package com.asakusafw.compiler.common;

import java.lang.annotation.Annotation;
import java.lang.annotation.Documented;
import java.lang.annotation.ElementType;
import java.lang.annotation.Retention;
import java.lang.annotation.RetentionPolicy;
import java.lang.annotation.Target;

import com.asakusafw.compiler.operator.AbstractOperatorProcessor;

/**
 * An annotation for tell the target operator annotation for {@link AbstractOperatorProcessor}.
 */
@Target(ElementType.TYPE)
@Retention(RetentionPolicy.RUNTIME)
@Documented
public @interface TargetOperator {

    /**
     * The target operator annotation type.
     */
    Class<? extends Annotation> value();
}

redpajama_set_name: RedPajamaGithub


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text:
BP to Form Global Floating Wind Team
October 14, 2022, by Adrijana Buljan
The original article published on 14 October has been updated following the news that BP has qualified as an eligible bidder for the first offshore wind lease sale in California.
BP is advertising a new opening in its offshore wind business, this time looking for the Head of Floating Offshore Wind, who will develop and lead its global floating offshore wind team from BP's base in the UK.
BP qualified as an eligible bidder in the first-ever US floating wind lease sale
The company is also exploring floating wind as a way to decarbonise oil & gas platforms
"This is an exciting senior role to be on the frontline of our floating wind strategy and methodology, as you lead development and implementation across our global wind projects", the company says in the job posting published on 30 September.
The oil and gas major, which officially entered offshore wind by joining two US projects at the beginning of 2021, posted around 100 job vacancies related to offshore wind in the US and the UK a few months after its entry into the market.
Posted: about 1 year ago
BP Posts Around 100 Offshore Wind Job Vacancies
Jobs & Recruitment
BP has also entered the Japanese offshore wind market this year through an agreement with the Japanese conglomerate Marubeni, with whom BP formed a strategic partnership for offshore wind and potentially other decarbonisation projects, including hydrogen.
According to Bloomberg, the first floating wind projects for BP could be in the Celtic Sea, where the UK's Crown Estate plans to lease areas for 4 GW of floating offshore wind capacity next year. Bloomberg also reports that the company plans to triple the number of jobs in its offshore wind business unit by next year.
So far, all BP's offshore wind projects have been bottom-fixed, including those awarded in the UK, Scotland, and the US, as well as the project proposed in the Dutch Hollandse Kust West tender.
Among the concrete floating wind activities the company engaged in so far is joining the Floating Wind Joint Industry Project (JIP), managed by the Carbon Trust, and participating in the discussions concerning the draft environmental assessment for the Humboldt Wind Energy Area (WEA) offshore California, which will house floating wind technology.
In April this year, BP also sent a letter to two California Senate's subcommittees on the proposed USD 45 million budget for ports and feasibility studies, "requesting that the legislature increase this amount" to USD 100 million to support the development of a multi-port plan by the end of 2022 that would, in turn, support offshore wind development in the Morro Bay and Humboldt call areas and "higher capacity floating wind technologies".
BP was not on the initial list of the pre-qualified participants in California's first (floating) offshore wind lease sale, published in the Proposed Sale Notice (PSN) in May. However, the list of eligible bidders in the Final Sale Notice (FSN) now shows the oil major qualified for the upcoming auction on 6 December in the meantime.
BP Could Place Its First Floating Wind Bid in California
Looking at BP's previous mentions of floating wind, the company said back in September 2021 that it had "stated its ambitions in floating wind auctions off Scotland and Norway".
Speaking about BP's plans for the oil and gas platforms of the future back in 2019, John Kennedy, engineering director for global concept development at BP, said that the company was also looking to the Norwegian sector and the plans there to power some existing platforms with electricity from floating wind turbines.
BP's bid in Norway's upcoming offshore wind leasing, in a consortium with Statkraft and Aker Offshore Wind (now Mainstream Renewable Power), is planned to potentially comprise infrastructure to power offshore oil and gas facilities with clean electricity.
However, the Sørlige Nordsjø II (Southern North Sea II) lease area, for which the consortium announced the bid, is deemed more suitable for bottom-fixed offshore wind, while the other area to be awarded, Utsira Nord, is designated to house floating wind projects.
Still, it looks like the company is actively looking into floating wind development for oil and gas electrification, as BP's regional president Azerbaijan-Georgia-Turkey, Gary Jones, mentioned floating wind as one of the ways to power the platforms this June at the Baku Energy Week event about decarbonisation of offshore oil and gas platforms and the economy in general.
"We are already in action in certain areas. For example, we are exploring ways to electrify our facilities. We could do it by powering our offshore platforms through the grid or floating offshore wind turbines", Jones said.
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Photo: Illustration; Photo: BP
Day 1 of California Floating Wind Lease Sale Ends with USD 402 Million in Bids
Powerhouses Clash Offshore California in Bid to Build Wind Farms
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Our approach Sideshore Technology brings together the worlds of offshore wind project development and high-performance numerical optimisation to create optimal wind farm layouts Wind farm layouts are often designed using a simplistic iterative process, where the turbines are arranged in regular grids with a fixed orientation relative to the prevailing wind direction. The array is […]
Port of Long Beach Proposes to Build Largest Offshore Wind Turbine Assembly Hub in USA
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HARCO Heavy Lifting's goal is to revolutionize the lifting industry with better and smarter applications, prepared for the future. The criteria of success…
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redpajama_set_name: RedPajamaCommonCrawl


I'll admit when I'm online window shopping, or online shopping, I never think to look at House of Fraser, or similar sites. However, they have many affordable highstreet brands such as Miss Selfridge, Dorothy Perkins, Little Mistress, Wal-G, Warehouse and loads of affordable brands that are sometimes harder to track down in stand alone shops. I also find their sizes stay in stock longer (because people forget to look there) and sale shopping is therefore a breeze!
I haven't yet ventured into the world of maxi or midi style clothing, even though it's been around for ages now, with the fear that they will make my already short and stumpy legs and body, look even more so. However I just thought, oh why not! I love maxi dresses as they look so put together and can be easily dressed up or down, and with a family holiday just around the corner this seemed like the perfect chance to try one out!
I think Miss Selfridge and House of Fraser have an amazing selection of summer maxi dresses and this Floral Double Layer Maxi Dress * caught my eye in particular. I think the double layer is really flattering and the print and the saucy split make for a stunning dress!
I'm not a #fblogger so OOTD type posts are pretty out of my comfort zone, and I am awful at posing in photos! I took these on my holiday in Kos, where this dress was perfect for the evenings, especially after days where my legs has gotten a little burnt….
Am I the only one who hasn't been brave to venture into the maxi/midi trend? Do you look to House of Fraser for affordable brands and deals?


text:
Tag Archives: Minako Izutsu
Five More Years
The E. coli long-term evolution experiment (LTEE) began in 1988, and it has run for over 32 years with only occasional interruptions. The latest interruption, of course, reflects the temporary closure of my lab during the ongoing coronavirus pandemic. Fortunately, one of the advantages of working with bacteria is that we can freeze population samples and later revive them, which will allow us to resume their daily propagation when it is prudent to do so. Indeed, we've frozen samples of all 12 populations throughout the LTEE's history, allowing "time travel" to measure and analyze their fitness trajectories, genome evolution, historical contingencies, and more.
Even as the experiment is on ice, the lab team continues to analyze recently collected data, prepare papers that report their findings, and make plans for future work. Their analyses use data collected from the LTEE itself, as well as from various experiments spun off from the LTEE. Nkrumah Grant is writing up analyses of genomic and phenotypic aspects of metabolic evolution in the LTEE populations. Kyle Card is examining genome sequences for evidence of historical contingencies that influence the evolution of antibiotic resistance. Zachary Blount is comparing the evolution of new populations propagated in citrate-only versus citrate + glucose media. Minako Izutsu is examining the effects of population size on the genetic targets of selection, while Devin Lake is performing numerical simulations to understand the effects of population size on the dynamics of adaptive evolution. So everyone remains busy and engaged in science, even with the lab temporarily closed.
Today, I'm excited to announce two new developments. First, the National Science Foundation (NSF) has renewed the grant that supports the LTEE for the next 5 years. This grant enables the continued propagation of the LTEE lines, the storage of frozen samples, and some core analyses of the evolving populations. The grant is funded through the NSF's Long Term Research in Environmental Biology (LTREB) Program, which "supports the generation of extended time series of data to address important questions in evolutionary biology, ecology, and ecosystem science." Thank you to the reviewers and program officers for their endorsement of our research, and to the American public and policy-makers for supporting the NSF's mission "to promote the progress of science."
Second, Jeff Barrick joins me as co-PI on this grant for the next 5 years, and I expect he will be the lead PI after that period. In fact, Jeff and his team will take over the daily propagation of the LTEE populations and storage of the sample collection even before then. I'm not planning to retire during the coming grant period. Instead, this transfer of responsibility is intended to ensure that the LTEE remains in good hands for decades to come. In the meantime, Jeff's group will conduct some analyses of the LTEE lines even before they take over the daily responsibilities, while my team will continue working on the lines after the handoff occurs.
Several years ago I wrote about the qualifications of scientists who would lead the LTEE into the future: "My thinking is that each successive scientist responsible for the LTEE would, ideally, be young enough that he or she could direct the project for 25 years or so, but senior enough to have been promoted and tenured based on his or her independent achievements in a relevant field (evolutionary biology, genomics, microbiology, etc.). Thus, the LTEE would continue in parallel with that person's other research, rather than requiring his or her full effort, just like my team has conducted other research in addition to the LTEE."
Jeff is an outstanding young scientist with all of these attributes. Two years ago he was promoted to Associate Professor with tenure in the Department of Molecular Biosciences at the University of Texas at Austin. He has expertise in multiple areas relevant to the LTEE including evolution, microbiology, genomics, bioinformatics, biochemistry, molecular biology, and synthetic biology. He directs a substantial team of technicians, postdocs, and graduate students, which will provide ample coverage for the daily LTEE transfers (including weekends and holidays). Last but not least, Jeff has participated in the LTEE and made many contributions to it including:
Participated in propagating the LTEE lines and related activities while he was a postdoc in my lab from 2006 to 2010.
Authored many papers using samples from the LTEE, including almost all of them that have analyzed genome sequences as well as several recent papers examining the genetic underpinnings of the ability to use citrate that evolved in one lineage.
Developed the open-source breseq computational pipeline for comprehensively identifying mutations that distinguish ancestral and evolved genomes.
Someone might reasonably ask if the LTEE will work in the same way when it is moved to another site. The answer is yes: the environment is simple and defined, so it is readily reproduced. Indeed, I moved the LTEE from UC-Irvine to MSU many years ago, the lab has moved between buildings here at MSU, and we've shared strains with scientists at many other institutions, where measurements and inferences have been satisfactorily reproducible. As an additional check, Jeff's team at UT-Austin ran a set of the competition assays that we use to measure the relative fitness of evolved and ancestral bacteria, and we compared the new data to data that we had previously obtained here at MSU. The two datasets agreed well, in line with the inherent measurement noise in assessing relative fitness. Fitness is the most integrative measure of performance of the LTEE populations, and it is potentially sensitive to subtle differences in conditions. These results provide further evidence that, when the time comes, the LTEE can continue its journey of adaptation and innovation in its new home.
Evolve, LTEE, evolve!
Filed under Science, Uncategorized
Tagged as breseq, coronavirus, COVID-19, Devin Lake, evolution, experimental design, experimental evolution, freezer management, Jeff Barrick, Kyle Card, life, LTEE, microbial evolution, Minako Izutsu, Nkrumah Grant, NSF, planning for the future, SARS-CoV-2, science, time, time travel
Coach Izzo and me
Chalk up another great year for the Michigan State men's basketball team and coach Tom Izzo. The Spartans were co-champions of the Big10 and won the conference's grueling tournament. And in the NCAA's March Madness, they made it all the way to the Final Four, knocking out the top-seeded team in the process.
Being a fan of this team got me thinking: Coach and I have a lot in common. We've both been doing our jobs, mostly at MSU, for a long time. Coach Izzo came here as a part-time assistant in 1983, becoming head coach in 1995. I was on the faculty at UC-Irvine starting in 1985, before moving here in 1991.
But the real similarities are deeper and more important:
First and foremost, we've both been fortunate to be surrounded by talented and hard-working students who listen to our ideas, experiment with them, develop them in their own ways, and translate them into meaningful outcomes—winning big games and making new discoveries.
That's not to say there aren't frustrations along the way: games lost, grants and papers rejected, grinding practice on the court and repetition in the lab, and even occasional conflicts. But our students are usually resilient—they overcome those setbacks and frustrations, and they go on to productive lives as players and coaches, researchers and teachers, and other careers as well.
We also both had mentors who helped us start our own careers. In Coach Izzo's case, one mentor was Jud Heathcote, the previous head coach who hired him as an assistant. My mentors included my doctoral advisor, Nelson Hairston, and my postdoctoral supervisor, Bruce Levin. Coach Izzo and I also had friends who helped shape our careers early on: Steve Mariucci, who went on to become an NFL coach; and Phil Service, who did important work on life-history evolution.
Coach Izzo and I also both benefitted, I think, from early successes—again, largely due to our students—that helped establish our reputations, allowing us to retain our jobs and thrive by recruiting more talented, hard-working students. For Tom Izzo, it was players like Mateen Cleaves, Charlie Bell, and Mo Peterson who took the Spartans to the Sweet 16 in his 3rd year as head coach and to the Final Four the next year, and who won the 1999-2000 National Championship. For me, the early students included Judy Bouma, Felisa Smith, John Mittler, Mike Travisano, Paul Turner, and Farida Vasi, and postdocs Toai Nguyen and Valeria Souza.
Coach Izzo has also had assistant coaches and staff, who I imagine do a lot of the heavy lifting. While some might eventually become head coaches of their own teams, many others labor in relative obscurity. In a similar vein, I've had outstanding lab managers including Sue Simpson, Lynette Ekunwe, and—for over 20 years, before retiring last year—Neerja Hajela.
Coach Izzo and I have both had deep benches—students who helped the team succeed without being in the limelight themselves. For Coach Izzo, they include the walk-ons and others who see limited action in games, but who compete against the starters every day in practice, helping everyone become even better. I think of three undergraduates who joined my lab when it was just getting started in Irvine (all Vietnamese refugees, by the way) who asked if they could work in my lab. Trinh Nguyen, Quang Phan, and Loan Duong prepared media and performed experiments like some incredible three-brained, six-handed machine, setting a high standard for everyone who followed in their footsteps.
Coach Izzo and I are nearly the same age. Retirement might be easier, but neither of us is ready for that. It's too much fun when you've got talent to encourage and guide like Cassius Winston, Joshua Langford, Nick Ward, Xavier Tillman, and Aaron Henry—and on my team Jay Bundy, Kyle Card, Nkrumah Grant, Minako Izutsu, and Devin Lake.
Of course, there's more that Coach Izzo and I have in common—we were lucky to be born into circumstances that allowed us to pursue our dreams without the obstacles that many others face.
Last but not least, Coach Izzo and I have had supportive partners who've accepted our peculiar obsessions and the long hours and frequent travel that our work entails.
Go Green! Go Students!!
Comments Off on Coach Izzo and me
Tagged as basketball, Bruce Levin, Devin Lake, education, Farida Vasi, Felisa Smith, Jay Bundy, John Mittler, Judy Bouma, Kyle Card, Loan Duong, March Madness, Mike Travisano, Minako Izutsu, MSU, Neerja Hajela, Nelson Hairston, Nkrumah Grant, Paul Turner, Phil Service, Quang Phan, research, scholarship, science, sports, students, Sue Simpson, support, teamwork, Toai Nguyen, Tom Izzo, Trinh Nguyen, Valeria Souza, work-life balance


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The Havana Juice series is dedicated to tobacco e-liquids. Coffee Tobacco is one of many outstanding e-juice flavors in this line. This e-liquid has the authentic flavor of coffee with a hint of tobacco. This is just the kind of e-liquid to vape when you want to awaken your senses.
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There is no weird taste from this vape juice. You will want to savor the rich coffee and tobacco flavor. Coffee Tobacco is not overly sweet. It is not also bitter like some coffee and tobacco e-liquids on the market. This e-juice is a must-try for everyone who loves coffee and tobacco. You will want to chain vape on it.
I love Coffee Tobacco. This is the e-liquid I vape during breaks at work. It makes me feel like I am in my kitchen sipping a glass of coffee. The flavor stays in your mouth for some time. You will not get tired of the taste of this vape juice. The taste is so smooth. I can chain vape on this e-juice all day long without a care in the world.
Coffee Tobacco by Havana Juice is available with different nicotine strength levels. You can get this vape juice with either 0mg, 3mg, 6mg or 12mg of nicotine. If you want to get a strong throat hit from this e-liquid, I suggest you get the 12mg version. Even at that level of nicotine, the flavor is still strong.
Coffee Tobacco by Havana Juice has a vegetable glycerin and propylene glycol ratio of 80/20. You will not have any issues vaping this e-juice using a tank or dripper. The e-liquid has a medium level of thickness. You will get a mild throat hit from this vape liquid.
Coffee Tobacco will give you tons of milky clouds. This e-juice is perfect for cloud chasers. The clouds linger in the air.
Havana Juice's Coffee Tobacco has an attractive packaging design. The e-liquid comes in a brown gorilla unicorn bottle. The Havana Juice logo is printed on the bottle along with some other information about the product.
Humble Juice Co. has a wide collection of e-liquid flavors in different lines. Apart from the Havana Juice line, there is the Humble Juice line, the Humble Ice Juice line, the Havoc Juice line, the Hustle Juice line, and the SVLT Vapor line.
All the e-liquids at the Humble Juice online store are well organized, so it is easy for you to select what you want.
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The latest pictures (January 2012) already show a great progress. All services are ready, even the large pool is already waiting a splash! There are only two condos left for sale, so if you want one and do not hurry you will have to wait for the second Zama Village development (probably at higher prices).
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text:
const mdjd = require('mdjavadoc-api')
const path = require("path")
const fs = require("fs")

const filePath = process.argv[2]
const fileName = process.argv[3]
const saveMarkdownFile = process.argv[4]

const tags = {
	author: ["Name"],
	version: ["Current Version"],
	param: ["Name", "Type", "Description"],
	"return": ["Returned Value"],
	exception: ["Exception", "Description"],
	throws: ["Exception", "Description"],
	see: ["Reference"],
	link: ["Reference"],
	since: ["Version"],
	deprecated: ["Deprecation"]
}

// Assign our custom version of parseFile
mdjd.parseFile = parseFile

// Parse the file into a data structure representing the javadoc comments and method declarations
let parsedFile = mdjd.parseFile(path.join(filePath, fileName) + ".java")

let fileOutput = `---
title: ${fileName}
---
## ${fileName}

| Method | Description |
| ------------- | ------------- |
`

// This object keeps count of overloaded method declarations
let methodDeclarationCount = {}
// Output the table of contents
for (const methodDeclaration of parsedFile) {
    if (methodDeclaration.type.length > 1 && methodDeclaration.type[1] === "class" || methodDeclaration.type[1] === "interface") {
        continue
    }

    if (methodDeclarationCount[methodDeclaration.name]) {
        let numberOfDeclarations = methodDeclarationCount[methodDeclaration.name][methodDeclarationCount[methodDeclaration.name].length -1]
        methodDeclarationCount[methodDeclaration.name].push(numberOfDeclarations + 1)
    } else {
        methodDeclarationCount[methodDeclaration.name] = [1]
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    let numberOfDeclarations = methodDeclarationCount[methodDeclaration.name][methodDeclarationCount[methodDeclaration.name].length -1]
    let description = methodDeclaration.description.replace(" \n\n", "")
    fileOutput += `| [**${methodDeclaration.name}**](${fileName}.html#${methodDeclaration.name}${numberOfDeclarations}) | ${description} |\n`
}
fileOutput += "{: class=\"table-striped\"}\n\n
Constructors
\n\n"

// Output constructor descriptions
const NumberOfConstructors = 2
for (i = 0; i < NumberOfConstructors; i++) {
    let constructorDeclaration = parsedFile.shift()
    fileOutput += `

# **${constructorDeclaration.name}**

> ${constructorDeclaration.name}(`

    if (constructorDeclaration.param) {
        fileOutput += constructorDeclaration.param[0].values[0]
        for (let i = 1; i < constructorDeclaration.param.length; i++) {
            fileOutput += `, ${constructorDeclaration.param[i].values[0]}`
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    fileOutput += `)

${constructorDeclaration.description.replace(" \n\n", "")}`
    if (constructorDeclaration.param) {
        fileOutput += `

### Parameters

| Name | Type | Description  | Notes |
| ------------- | ------------- | ------------- | ------------- |
`
        for (const param of constructorDeclaration.param) {
            fileOutput += `| **${param.values[0]}** | **${param.values[1]}**| ${param.values[2]} |\n`
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}

fileOutput += "\n\n
Methods
\n\n"

// Output method descriptions
for (const methodDeclaration of parsedFile) {
    if (methodDeclaration.type.length > 1 && methodDeclaration.type[1] === "class" || methodDeclaration.type[1] === "interface") {
        continue
    }

    let returnType
    if (methodDeclaration.type[0] === "private" || methodDeclaration.type[0] === "public" || methodDeclaration.type[0] === "protected") {
        returnType = methodDeclaration.type[1]
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        returnType = methodDeclaration.type[0]
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    fileOutput += `

# **${methodDeclaration.name}**

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Elli prefers working with a dry medium, most often with graphite, though she is interested in painting and wants to try other mediums outside of her comfort zone. With her pencils she tends to draw a lot of realism, possessing exceptional skills of reproduction. The line of artists in her family, her grandfather and mother, were great inspirations to her in her early life. In her later life, Elli finds herself drawn to tattoos, pinups and old movie stars.
Read more and see more of Elli Merkis' artwork on her portfolio page.
Elli is also open to commission works. Email studiolamouche@gmail.com for inquiries.


text:
On July 21, 2015, Journey was released on the PlayStation Network for the PlayStation 4, ported by United Kingdom studio Tricky Pixels;[22] owners of the digital PlayStation 3 version of the game were able to download the new version for free.[23] The PlayStation 4 version of the game features improved graphics over the original, with a higher resolution and framerate and improved texture quality.[24][25] According to Tricky Pixels, the original PlayStation 3 game was "a masterpiece of PlayStation 3 programming" and porting the game to the PlayStation 4 was "an immense technical challenge".[24]
In August 2012, Alderman joined the faculty at the University of Tennessee after serving as a professor of geography at East Carolina University since 2000. He recently completed service on the Council of the Association of American Geographers (AAG) as Regional Councillor and Chair of the Association's Publications Committee. Alderman is the former President of the Southeastern Division of the AAG and a former co-editor of the peer-reviewed journal Southeastern Geographer.
The history of utopian literature is extensive, even if we take the term in the strict sense of a detailed description of a nation or commonwealth ordered according to a system which the author proposes as a better way of life than any known to exist, a system that could be instituted if the present one could be cancelled and people could start over. Before More's 1516 Utopia, the number of elaborately designed utopian commonwealths is small. Most of the writings along these lines are brief and many are misty, nostalgic, backward glances at an imagined primitive life in the "Golden Age." There is, of course, no lack of earlier literature criticizing the status quo. The great outpouring of utopian literature, however, came after More; and it cannot be doubted that his work gave great impetus to the movement.
His most recent book, a New York Times bestseller, is "Manhunt: The Ten Year Search for bin Laden, from 9/11 to Abbottabad." The book is being translated into nine languages and HBO has produced a theatrical release documentary based upon it. The film, for which Bergen is the executive producer, was in the Sundance Film 2013 competition and won the Emmy award for Best Documentary. The Washington Post named "Manhunt" one of the best non-fiction books of 2012 and The Guardian named it one of the key books on Islamist extremism. The Sunday Times (UK) named it the best current affairs book of 2012 and The Times (UK) named it one of the best non-fiction books of 2012. The book was awarded the Overseas Press Club Cornelius Ryan award for best non-fiction book of 2012 on international affairs.
The work begins with written correspondence between Thomas More and several people he had met on the continent: Peter Gilles, town clerk of Antwerp, and Hieronymus van Busleyden, counselor to Charles V. More chose these letters, which are communications between actual people, to further the plausibility of his fictional land. In the same spirit, these letters also include a specimen of the Utopian alphabet and its poetry. The letters also explain the lack of widespread travel to Utopia; during the first mention of the land, someone had coughed during announcement of the exact longitude and latitude. The first book tells of the traveller Raphael Hythlodaeus, to whom More is introduced in Antwerp, and it also explores the subject of how best to counsel a prince, a popular topic at the time.
Book two has Hythloday tell his interlocutors about Utopia, where he has lived for five years, with the aim of convincing them about its superior state of affairs. Utopia turns out to be a socialist state. Interpretations about this important part of the book vary. Gilbert notes that while some experts believe that More supports socialism, others believe that he shows how socialism is impractical. The former would argue that More used book two to show how socialism would work in practice. Individual cities are run by privately elected princes and families are made up of ten to sixteen adults living in a single household. It is unknown if More truly believed in socialism, or if he printed Utopia as a way to show that true socialism was impractical (Gilbert). More printed many writings involving socialism, some seemingly in defense of the practices, and others seemingly scathing satires against it. Some scholars believe that More uses this structure to show the perspective of something as an idea against something put into practice. Hythloday describes the city as perfect and ideal. He believes the society thrives and is perfect. As such, he is used to represent the more fanatic socialists and radical reformists of his day. When More arrives he describes the social and cultural norms put into practice, citing a city thriving and idealistic. While some believe this is More's ideal society, some believe the book's title, which translates to "Nowhere" from Greek, is a way to describe that the practices used in Utopia are impractical and could not be used in a modern world successfully (Gilbert). Either way, Utopia has become one of the most talked about works both in defense of socialism and against it.
Augustine's work set out to defend Christianity against the criticism of proponents of traditional pagan worship. It launches an attack on the pattern of immorality in Roman life under the worship of the pagan gods and offers, in contrast, the way of life taught by Christianity. His arguments are based on his interpretation of history, both Old Testament history and Roman. There is not a specific practical plan for the government of his imaginary ideal state but rather a distinction drawn on philosophical lines between two guiding principles. In the "City of Earth," the love of self holds precedence over love of God; in the "City of God," the love of God holds precedence over the love of self.
Utopia was the book that invented a new genre of fiction. It was the first book to use a made up world, a "Utopia" in its framing. This spawned books and stories that have continued to dominate the industry of storytelling to this day. Books like "The Hunger Games," and "Divergent" can all trace their origins back to Thomas More's most famous work (Getty 321). More wrote this story to make a point about collectivism, whether in defense or as a criticism of. It could be argued, however, that Utopia's greatest impact could be in its world creation. More was the first to create his idealistic world, and the framework he created has stuck around for hundreds of years (Getty 321).
Voyage features many of Scud's colleagues from previous films, such as the actors Byron Pang, Haze Leung, Adrian "Ron" Heung, and Linda So, as well as several technical staff, such as the Director of Photography, Charlie Lam, who worked on Scud's 2010 film Amphetamine. During filming, Scud said, "I am really enjoying shooting in Europe because people are so film-friendly.. I can see myself coming back to film again in Europe". The German episode includes appearances by the UK actress Debra Baker (Junkhearts) and the German actress Leni Speidel, who was also the Production Manager for filming in Europe.[1]
Journey was the last game made under a three-game contract between Thatgamecompany and Sony Computer Entertainment, the first two being Flow and Flower. Development of the game began in 2009, after the release of Flower. The 18-person development team for Journey was composed mainly of creators of the company's previous games; co-founder Jenova Chen was the creative director and Nick Clark returned as lead designer.[6] Kellee Santiago, producer of Flow and Flower, did not reprise her duties, concentrating instead on her role as the company's president, and was replaced by Robin Hunicke.[7]
In 2013 Princess Cruises began operating the lead vessel in its Royal Class, Royal Princess.[9] Britannia is built to the same template, but is very different in its character and exterior appearance.[10] The second ship of the Royal Class, Regal Princess, was delivered 11 May 2014 to Princess Cruises. The latest Royal Class ship, Majestic Princess, entered service 30 March 2017.
The developers designed the game like a "Japanese garden", where they attempted to remove all of the game elements that did not fit with the others, so the emotions they wanted the game to evoke would come through.[13] This minimalism is intended to make the game feel intuitive to the player, so they can explore and feel a sense of wonder without direct instructions. The story arc of the game is designed to explicitly follow Joseph Campbell's monomyth theory of narrative, or hero's journey, as well as to represent the stages of life, so as to enhance the emotional connection of the players as they journey together.[14][15][16] In his D.I.C.E. speech, Chen noted that three of their 25 testers had cried upon completing the game.[10]
The text of Utopia is in two books. Book 1 was written after Book 2. It is in Book 2 that the society of the place named `Utopia' is described by a traveler, Raphael Hythloday, who through his travels had lived there for a time and has returned to England to report on what he learned. Book 1 is a lead-in to Book 2 and was probably intended to establish interest in the subject of Book 2. The narrative form of Book 1 is a conversation of Hythloday with Thomas More and Peter Giles, and of Book 2 the form is a monologue by Hythloday.
Denis Diderot's Supplement to Bougainville's "Voyage" (1772) is a prime example of the eighteenth-century vogue of primitivism which was spurred by Rousseau's thesis of the "noble savage" and which generated such novels as St. Pierre's Paul and Virginia and Chateaubriand's Atala. Diderot's book makes a case for the simple, natural ways of a South Sea Island culture as reported by Bougainville, a French explorer. The central portion of the story presents an imaginary dialogue between a French chaplain and a native of Tahiti (Orou) in which a comparison is made between the customs and institutions of Europe and those of Tahiti. The way of life of the islanders is eloquently defended, and that of the Europeans discredited. According to the Tahitian, man's natural instincts, which are equated with the laws of nature, are interpreted as justifying complete freedom in sexual relations. Their observance of community property is defended as minimizing personal conflicts and legal entanglements and promoting a general concern for the welfare of the community as a whole.
Among the works that Wells wrote before World War I, the closest to a classical utopian piece is A Modern Utopia. It is utopian specifically in that Wells held a firm belief in the progress of mankind toward perfection; hence, he confidently pictured a bright future. The term "modern" in the title was meant to convey the idea that he intended to keep his picture within the realm of reasonable possibility, avoiding excessively visionary treatment of the theme. For that reason he was unwilling to adopt certain features that were traditional among the majority of earlier utopists.
Outside of Utopia, money is the cause of endless trouble. In Utopia, "once the use of money was abolished, and together with it all greed for it, what a mass of troubles was cut away, what a crop of crimes was pulled up by the roots! Is there anyone who does not know that fraud, theft, plunder, strife, turmoil, contention, rebellion, murder, treason, poisoning, crimes which are constantly punished but never held in check, would die away if money were eliminated?" (132)
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The features of Erewhonian society that surprise the author are those that differ from the England that he knew. According to the early impressions of the travelers, the people all appear to be exceptionally healthy, exceedingly handsome, and altogether contented. Their life style is characterized by simplicity and gracious manners, best described as Arcadian. Gradually, however, oddities, or what appear to be oddities to the visitor, begin to surface. Duplicity pervades every aspect of thought and action. The natives habitually profess agreement to a proposition although they do not believe in it, and their friends are perfectly aware that they do not mean what they say. There are two separate banking systems in operation and two sets of religions. The people give lip service to what they call the Musical Banks, but they transact all serious business with the currency of the other chain of banks. Similarly they recognize a group of deities representing the personification of human qualities — justice, hope, love, fear — and erect statues to them; but their pragmatic morality is evidently dictated by a goddess — Ydgrun (Grundy). More and more they reveal themselves to the traveler as victims of self-deception and inverted logic. Their universities are called Colleges of Unreason, and the principal course of study is Hypothetics.
Minority Report is a movie about a dystopian society in the year of 2054 in Washington D.C. The story is about a "Pre-Crime" police force unit, which revolves around three psychics, "Pre-Cogs", with special power to see into the future and predict crimes. Police manipulates these visions and arrest criminals before the offenses are even committed. Main protagonist, "Pre-Crime" Chief John Anderton (Tom Cruise) has the tables turned on him when he is accused of murder in the future. He must find a way to prove his innocence, for the thing he has yet to do.
Utopia is placed in the New World and More links Raphael's travels in with Amerigo Vespucci's real life voyages of discovery. He suggests that Raphael is one of the 24 men Vespucci, in his Four Voyages of 1507, says he left for six months at Cabo Frio, Brazil. Raphael then travels further and finds the island of Utopia, where he spends five years observing the customs of the natives.
Whether hiking Table Mountain for one of the world's best views, riding horseback on safari, or engaging with local entrepreneurs in Cape Town, students always fall in love with South Africa. Full of adventure and captivating sights, Cape Town offers countless opportunities for cultural and natural exploration. Cape Town is also home to world-renowned social rights activist Archbishop Desmond Tutu, who students just may have the opportunity to meet as he is a member of the Institute for Shipboard Education Board of Trustees… and a big fan of Semester at Sea!
The first discussions with Raphael allow him to discuss some of the modern ills affecting Europe such as the tendency of kings to start wars and the subsequent loss of money on fruitless endeavours. He also criticises the use of execution to punish theft, saying thieves might as well murder whom they rob, to remove witnesses, if the punishment is going to be the same. He lays most of the problems of theft on the practice of enclosure—the enclosing of common land—and the subsequent poverty and starvation of people who are denied access to land because of sheep farming.
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House of Hackney's 'Pluma' wallpaper features painterly pampas grass for a mesmerising effect. The carob background allows the pink and off-white plumes to pop. Introduce this exquisite design to your home for a sense of 1940s old Hollywood glamour. PVC-free, eco-friendly materials.


How exactly do you write an effective essay? Contrary to what you may be thinking, the answers do not lie in some mystical bejeweled cave at the hands of some dissertation guru; the answers are actually pretty simple. Here are 7 common mistakes that are made, so be sure to avoid making them yourself!
Like I said, the answers are actually simple. So, the first error often made is: not giving the assignment enough time. Without a study plan in place, it's easy to not devote the time that's needed. The more you plan each step of the way, the better it will be- and, trust me, when it comes to marking, you're tutor will be able to tell the difference!
It's crucial that you don't forget to plan.
The next common oversight is that not enough research is performed prior to the writing. Never underestimate the importance of researching; whatever type of paper you're working on. Information is the basis of any paper, so you need to remember to not only use your sources wisely and appropriately, but also cite them in the required manner.
Papers are often marked down because small details (like citing) are overlooked. Pay attention to getting the word count correct and double checking spelling and grammar. Remember that presentation matters!
So, you know all the obvious nuts and bolts, but you still don't know how to make your words really stand out from the crowd, right? It's a common error to attempt to write in the style of somebody else, thinking that your teacher will be impressed; or to write in a way which is all style and no content. A really good assignment will consist of a clear, reasoned and distinct voice, so be yourself and learn how to hone your writing skills.
Another error much made is this: writing a great paper, but a terrible conclusion or introduction. Indeed, some pupils forget to even include such things! An essay does not compromise of the main chapters alone. It can't be stressed enough how much you need to pay attention to the introduction and conclusion. Be sure to check other examples to know you're getting it right!
Many have a habit of going off on vague and irrelevant tangents amongst their main text body. Always make sure that you set out to answer the specific questions raised in your title and introduction; and fulfill the requirements of the type of assignment that's been given.
Last but not least- get it in on time!


text:
Pauline Kael - A Tribute
Tomáš Hudák
Reaching Audiences: the 15th Thessaloniki Documentary Festival
A Multitude of Meanings: The Long Take: Critical Approaches, ed. John Gibbs and Douglas Pye
Wenders, Wim
"Why do you need me to tell you all the secrets?": An Interview with Denis Côté
French-Canadian auteur Denis Côté is probably best known for his Best Directing prizes at Locarno for his films Elle veut le chaos (All That She Wants, 2008) and Curling (2010), as well as his Berlinale awarded Vic+Flo ont vu un ours (Vic+Flo Saw a Bear, 2013; Silver Bear – Alfred Bauer Prize). However, for each of his "big" fiction films he directs "small", semi-improvised, documentary-style projects with very limited crew and budget. These films include Carcasses (2009), Bestiaire (2012) and Que ta joie demeure (Joy of Man's Desiring, 2014). And so, after 2016's Boris sans Béatrice (Boris Without Béatrice, 2016) came his latest, Ta peau si lisse (A Skin So Soft, 2017).
At first it might seem an ordinary observation documentary about six bodybuilders. But then you start noticing authorial winks and, especially if you are familiar with Côté's work, by the time the credits roll you wonder if it wasn't fiction after all. You are puzzled because it is obviously not a film about bodybuilding or the six men. If you expected a take on masculinity, sexuality, drugs, or weirdness, the film hasn't delivered. You are left wondering what you have just seen.
A Skin So Soft is enigmatic. It's fine to keep the mystery so in the interview that follows you won't read much about the behind-the-scenes and you won't learn which parts of the film were in fact staged.
Tomáš Hudák: You have made different kind of films, but I feel like this one is somewhere in the middle of your filmography. We can see a little bit of everything and most of all we can see your passion for filming someone who is passionate.
Denis Côté: It's funny, because I have heard that many times. Sometimes people see two of my films and they say: "Is that the same person?" I like to try a lot of things. If you really look at the films carefully you can see it's always the same person, but you can also say they are very different.
I am a film lover and a film language lover, meaning I am obsessed with sound, image, and narrative proposition, with how to break the codes of narration. It's very rare that you come to see one of my films for its subject. It's never a film to learn about something. For example, Bestiaire is a film with animals in the zoo, but you don't watch this film to learn something about zoos. Watching A Skin So Soft you don't learn anything about bodybuilding. It's about trying things and breaking some of the codes of filmmaking.
TH: Can you be more specific on the codes you were trying to break with this film?
DC: I was wondering: "How can I make an observational documentary that could slowly switch to fiction?" The last chapter of the film is obviously fictional; it's something I imagined and wrote. Can I start in an innocent way, just filming these guys, and then go towards the fictional project?
I am not an expert on bodybuilding so for me these guys were very mysterious. I met them one by one and it took me five minutes with each of them to fall in love with their story, their dedication, their discipline. Their passion is so amazing that it made me think about my own passion for cinema. If I want to be a little arrogant I would say this is not a film about bodybuilding, it's about six men who are passionate. That's it. They could collect stamps and they would be beautiful to film because they have a passion.
TH: Why did you put the old Sandow movie on the final credits? Is it a way of saying "I know there are other films on the subject, I have seen them, but mine is different"? Is it some kind of final hint that the film is not actually about bodybuilding?
DC: The answer is in the question. Why would anybody in 2017 make a film about bodybuilding? It doesn't make sense. I was aware of many of the films on the subject, including this one 1 which is probably the first one ever to show a bodybuilder. It was shot by William K.L. Dickson and it shows Eugene Sandow, the grandfather of modern bodybuilding. It's one of the first filmmakers filming the first bodybuilder – that's how old the topic is. Putting the clip there was like saying "Look, I know there is a history of cinema out there, I would try to be the most original with an old subject."
TH: The thing is, we don't learn anything about bodybuilding, as you said, but we also don't learn much about your protagonists.
DC: When I started this film, I told the guys: "We won't learn anything in the film, don't worry; I won't ask you any questions. For me you are mysterious people and when the film is over I want you to be even more mysterious." Normal documentary filmmaking would try to demystify what they are doing. My purpose was the opposite: to make sure that we still don't know them when it's over. Because it's their passion, their secret, their thing and we must respect their lifestyle for what it is. It's a film about not judging.
The documentaries about bodybuilding are usually so boring: "Why did you star bodybuilding? What do you eat? You take drugs?" You know these films exist, go watch them somewhere else. I think when you see a guy weighting his food on a balance on a scale, it says it all. I don't need to ask him questions. You can see the guy is weighting the amount of protein he has to get during the day.
TH: This is something you do in all your films. The information you give the audience is very limited and you expect people to fill in the gaps on their own.
DC: Sometimes I like to make whole films and say the film is not actually on the screen, so please imagine what's beyond the frame. For example, in All That She Wants, there are so many pieces of information that are outside the screen. You sit and watch 90 minutes of mystery, but I hope I am leaving enough hints for you to imagine what's outside. Sometimes I will cut all the backstory of my characters, because I hope the audience is not passive.
The problem is many people in the audience are passive. I understand that for them cinema is escapism and entertainment and they want to watch a film to just disconnect from real life. But for me real life is the passion. You need to find ways to still interest a passive audience by making films that are pushing them to be active in order to fill holes. So when I make a film I make sure to put enough information so you understand the story, but at the same time I try to play a little with the audience and don't give them everything.
It can be annoying for an audience to watch my films because you never know what you are watching, and you are struggling to get it. They are not generous films, they are tough to watch, but for me it's rewarding and for some cinephiles, too. Somebody once gave me a beautiful compliment: "When you see a Denis Côté film you are never safe, anything can happen."
TH: And sometimes it's alright if we don't really understand what's going on…
DC: What I often do is I take out all the context. For example, there is a scene at the beginning of A Skin So Soft where the guy is eating a bowl of cereal. What I like is we start the scene and we feel like laughing; he is making these noises. By the way, I don't know what they are, I have never asked him. You think it's because of what he's eating and then… he cries? So as a viewer you have mixed emotions right away, right at the beginning of the film. You are like: "OK, this film is not a joke, this film is not about laughing at these guys, something is going on in their heads." This is me calculating where to put that scene and taking out all the context. There is no psychology, no explanation and as a viewer you are lost in front of a mysterious object. That's what I really like. Playing with all these things and lying to the audience, toying with the audience's expectation. It's like Halloween, you never really know what's behind the mask.
TH: You mentioned that the audience might feel like laughing, but then you make them switch their emotion. The whole film might seem like it will be fun, but the protagonists are never portrayed as a laughing material.
DC: From the very beginning I knew I didn't want a freak show, no cynicism, not too much irony. Me and my editor agreed that every time we feel we are laughing at these guys, it's out. The way we look at them is respectful, it's a film about having the right distance with the subject you are capturing. It's a loving portrait of mysterious people. That's why it may be warmer than my other films, but it's still pretty cerebral.
In many of my films the camera is very austere, there are fixed shots, they are very cerebral and cold. You feel you cannot get to the characters. But here, I fell in love with the guys so that's why this film probably feels more human than my others.
TH: You mentioned the delicate process of editing and getting rid of things. Talking about playing games with the audience and taking out the context, I would like to know how precisely are your films prepared before the shooting itself?
DC: Everything you saw in A Skin So Soft was made in three days with each guy. Everything had to be planned: at 8 we are doing this, at 9 that, at 12 that. It was all done in a couple of days, but they were changing clothes to give you the impression that we were living with each of them for six months. It's not a documentary…
I made four big films with budgets over a million dollars. If you want the money from your local institution for such films, you need to write a very precise script and explain your intentions. When I shoot these films, everything is prepared. All the shots I do are on paper, I never improvise. These films are more like traditional films, extremely imagined minute by minute.
And then I take my revenge over those over-calculated films and make a film like Bestiaire. I have zero notes in my hands. I know I am allowed to film in the zoo, I am with two guys, we film animals, and it's very boring. Just fixed shots of all the animals in the zoo. We don't know what we are doing. I know I am going to find a concept at some point, but it's fun to work like that without any knowledge what the final product will be. That is exciting. A Skin So Soft was kind of the same. We had to prepare the scenes, because we didn't have money (it was made for € 45,000) and we didn't want to bother the guys too much, but still no script, no notes, nothing.
I really love making films without knowing what the result will be. Those are my favourite. I prefer them to All That She Wants or Curling, because I can watch them 75 times and I am still not sure what we were looking to do. I have lost myself in front of my own work and it's really exciting. Why would I watch All That She Wants or Curling again? I know the beginning, the middle and the end. I like to call these films "dead", they are made – they were made. Even if I watch them I see actors playing their part and hear the dialogue I wrote. I never regret doing any of my films, I will always be proud talking about an old project, but I prefer the small "revenge" ones…
TH: You stressed again that A Skin So Soft is not a documentary and earlier you mentioned your aim to blend documentary and fiction. We can see a clash of fiction and reality in many of your films. Why is it so interesting for you?
DC: I was a film critic for a long time, from 1995 to 2005, so I was seeing a lot and did a lot of writing. I remember around the year 2000 there were a lot of films coming out at the festivals with non-professional actors, documentaries switching to fiction. I really like how you can take extremely real people who have no acting skills and bring them into your story knowing they have no talent. This is a real nice challenge and I guess I was really intrigued by this technique. Lots of people say the cinema is dead. I disagree with that. We can still try new things and this cinema that lays between fiction and reality is one of them.
In 2004 I wrote my first feature film Les états Nordiques (Drifting States, 2005); it was basically a film with one professional actor going to a village of 400 people and trying to fit in. There were 400 inhabitants of the village and one professional actor and I didn't know what the clash would be. The film did pretty well and that's how I kind of fell in love. These films are very imperfect. It's impossible to have a strong film using a non-professional with the script. But I like how very fragile they are. I like to see these films as a table which is shaking, and my job is to put a little piece of paper under the table so the trembling stops.
TH: I guess you get a lot of questions on what is fiction and what is real in your films, and I do understand why people are asking these questions, but is it really important to know?
DC:A Skin So Soft premiered in Locarno and I was a bit surprised because at the first press conference all the journalists started to ask about precise moments in the film wanting to know what is real and what is staged. There was a lot of mystery around the film, and I was playing along, blurring the lines. To this day everywhere I go to do a Q&A, people are not sure if certain scenes are real or not. It doesn't matter. What you just saw is a film and you deal with it however you want. If you want me to tell you all the secrets of every scene you would be very surprised to hear that such and such scene is completely staged and this other one is completely true. It's fun to talk about the deconstruction of how you make a film, but in the end, I think we should stop doing Q&As after films like that. Why do you need me to tell you all the secrets?
Bestiaire is a film that only features animals, no dialogue, nothing. It's 75 minutes of animals looking at the camera and the audience. It's an experience. But I have been invited to many festivals where they wanted me to stand in front of the audience and explain what was going through my mind when I made that film. This always kills the mood. A lot of people say it's an anti-zoo film, it shows all the cruelty against animals. And I say: "Really?" But it's fine. If that's what you think, go home and just tell your friends that you saw a film that is very cruel. But if you ask me what I wanted to do you might be very surprised. I like to meet the audience, but at the same time I never stay for the Q&As; I don't want to listen to the director telling me all their secrets. I think I can go home and live with the experience of the film. I would like the people to keep the mysteries of the film for themselves.
You might be wrong in understanding what you saw, but who cares? That's how you saw it, it's fine. But a lot of people need a validation for what they think. They hate being confronted with a film they feel they don't understand. So the director always gets questioned. People want to go home making sure they understood, they don't want to be lost. As a cinephile I want to be lost when confronted with a film.
Available at https://www.loc.gov/item/00694298/ ↩
Denis Cote
The Embrace of the Serpent and the dark legacy of the rubber holocaust
Virtually Present, Physically Invisible: Virtual reality immersion and emersion in Alejandro González Iñárritu's Carne y Arena
Tomáš Hudák (1988) is a programmer and freelance film critic based in Bratislava, Slovakia. Throughout the year, he programs films at independent cultural center A4 – Space for Contemporary Culture which focuses on challenging experimental art. He also works for Cinematik Film Festival in Piešťany, Slovakia and Bratislava IFF as a member of programming department. In the past, he was a film archivist at Slovak Film Institute. He wrote some papers on film history, too.
An Interview with Denis Côté
Wheeler Winston Dixon


text:
From the Guardian archive
From the archive, 1 September 1923: Clowning on the big screen
CA Lejeune on Buster Keaton, Charlie Chaplin and the art of slapstick comedy
CA Lejeune
Tue 1 Sep 2015 00.30 EDT Last modified on Thu 27 Jun 2019 06.13 EDT
Charlie Chaplin in a scene from City Lights (1931). Photograph: John Kobal Foundation/Getty Images
It is one of the kinema's little ironies that among all the makers of comic films there is not to be found a single man who works with comedy as his touchstone. I am not forgetting Chaplin. "The Pilgrim" is indeed my immediate text. But Chaplin, who alone can raise laughter at his will, who is the only complete pantomimist on the screen to-day, and hence the only master of his art, has done what he has simply because he is not what he seems to be. The comic artist is not the ultimate Chaplin. If it were so his universality would localise. We might admire the comedian Chaplin - must admire him for his delicate craftsmanship, - but we should not cherish him. Enthusiasts have called him a tragedian, but neither is he this, his work being too intimate and miniature. It is the sentimentalist Chaplin who has upset the comic applecart.
Many years ago, when John Bunny and Sidney Drew were still alive, there were comedies to be seen at picture-houses. Not too many and not too flawless, but comedies nevertheless. To-day there is Chaplin, beside whom Bunny and Drew are mere bunglers; three earnest aspirants to the comic mask who are working with the right tools in the right direction and may some day reach their goal; a group of optimists, mostly British, who are blundering in the right direction with the wrong tools and refuse to perceive that, or why, their progress is slow; and a host of yapping face-makers. Of genuine comedy there is none. Its name on a bill will usually betoken slapstick, and you may expect whitewash, trouser-ripping, and the police chase, with flying bedsteads and walls that crumble at a touch. In the modern kinema farce and comedy are synonymous. For a man to fall through his bedroom floor into a flour barrel in the room below, then to rush madly through the streets with half a dozen fat neighbours at his heels, is to become automatically a comedian. To do it often enough is to become a star as well.
Charlie Chaplin in Modern Times (1936).
Every here and there a producer has made the startling discovery that buffoonery is not necessarily comic, and that laughter holding both its sides - the laughter that farce brings, if it brings any - is not the laughter to be coveted. Comedy should be, he finds, a matter of incongruity of situation, of rebellion against the norm and its butts, the men and women who have strayed outside their element - the Vere de Vere in Shoreditch, the coster in Mayfair. So far, so good. But the producer next, with an admiring eye on Dickens, or Shakespeare, or Molière, fails to distinguish between the methods of the pen and of the camera. He relies not upon the action, but upon the written word, the "sub-title", for the expression of his comedy. The sub-title may be witty, the epigram a prime one. But a film should not be turned into a celluloid joke-book with photographic illustrations. The true screen comedy has no truck with words, and is so simple that their use is mere redundance.
CA Lejeune: the pioneering female film critic who changed our view of cinema
There are three men besides Chaplin, who know this - Max Linder, Buster Keaton, and Harold Lloyd's producer. Hence these three, skilled workmen all, with their apprenticeship past, are treading close on the fringes of comedy. They know the value of the individual mould, unchanging with the changing films, of the immobile mask and familiar make-up. But "Max" has the European predilection for rough-and-tumble farce, and many a time has this crippled him, when comedy seemed within his reach. Harold Lloyd, without his producer, is a mere cipher. His personality being purely negative, he transmits supremely well the thought of others, but is not himself, and never will be, a comic artist. Buster Keaton - his name, I feel sure, has harmed him with the thoughtful audiences for whom his work is designed, - melancholy of face, fertile of imagination, has most nearly approached that rating. He tops by a head the others of the trio… But beside Chaplin all three are pigmies.
This is an edited extract, click to read on
Charlie Chaplin and Jackie Coogan in The Kid (1921). Photograph: AP
Silent film


The headline contains the seed of the plot for the second Castlevania: Lords Of Shadow game. It sounds like a particularly lurid SyFy movie in the vein of Mega Shark vs Giant Octopus, or a 'History' Channel miniseries about the true meaning of Stonehenge. Either way, it sounds like a load of cobblers but that's not to say the notion of thwacking Satan with a blood whip isn't at least vaguely appealing. Promising exploration, open world shenanigans and 'a movable camera', Lords Of Shadow 2 certainly sounds like it has all the mod-cons. I'll probably have forgotten that it's actually coming out on PC by the time I finish writing this post but definitive proof has arrived in the shape of a demo, which you can download now.
This trailer demonstrates many of the things that won't be happening when you're actually playing the game.
I used to like Castlevania games until I accidentally played the Nintendo 64 release. I've never been able to look at them the same way since. Not when they're 3D at any rate.
Tagged with demo, free games, Konami, MercurySteam, Castlevania: Lords Of Shadow 2.
Have You Played... Castlevania: Lords Of Shadow?


text:
£230,000 investment in digital manufacturing for Dectek
Stephen Elias
Resin and print technology specialists Dectek have completed a £230,000 investment in new digital manufacturing facilities to meet increasing global customer demand.
Managing Director Mike Beese first set-up Dectek in 2002 from his kitchen table. He has since grown the business in to an award-winning company that pioneers the digital manufacturing of domed resin badges, labels and name badges.
Based on Treforest Industrial Estate, the company now employs 30 people including three apprentices. Turnover is expected to reach £4.5 million by 2021 with 20 new jobs being created.
A £75,000 loan from the Development Bank of Wales has been used to part fund new IT infrastructure and printing equipment enabling leaner working practices and improved stock control. A new online ordering system for customers has also been launched.
Managing Director Mike Beese said: "I set up DecTek in 2002 with nothing but a vision to own my own business doing what I love and know best. From our early days manufacturing sport trophies Labels, I have built the company into one of the UK's leading producers of high-quality resin domed badges, labels, stickers and name badges exporting our products globally.
"An initial loan of £90,000 from the development bank's predecessor, Finance Wales, in 2010 provided the capital that we needed to expand our market with reuseable name badges before relocating to a larger manufacturing facility on the Treforest Industrial Estate in 2012. Three rounds of subsequent funding totalling over £300,000 mean that we've been able to drive significant growth with the development of new markets. We now supply a cosmetics retailer with colour labels for lipsticks and nail polishes and we've even developed our own unique colour coding system to print them digitally. Safety signage and safety labels are our next focus."
"Never did I think back in 2002 that Google, Jaguar - Landrover, Bentley, NHS, SKY, Sony and Virgin would now be amongst our blue-chip customers. It's been an exciting journey with incredible support from Finance Wales in the early days and now the Development Bank of Wales with this latest round of funding. They've stood by us every step of the way and their belief in our vision has helped us to deliver real impact. I can't thank them enough for believing in me."
Steve Elias, Senior Portofolio Executive with the Development Bank of Wales added: "Mike's vision and commitment to industry leading standards has delivered sustained growth with great customer service. We are always keen to work with our customers on a long-term basis; it's so rewarding to see the impact that our funding has."


text:
The Execution of Los Zetas Drug Cartel
Crime / Gang, crime, syndicate, drugs
Los Zetas (Spanish for "The Z's") is a powerful and violent criminal syndicate in Mexico, and is considered by the U.S. government to be the "most technologically advanced, sophisticated, and dangerous cartel operating in Mexico." The origins of Los Zetas date back to the late 1990s when commandos of the Mexican Army's forces deserted their ranks and decided to work as the armed wing of the Gulf Cartel, a drug trafficking organization. In February 2010, Los Zetas broke away from their former employer and formed their own criminal organization.


The Ladies Supper was commissioned in 2015 by the Bird in Hand winery in Adelaide, Australia. The painting is a 13 portrait all female version of the Last Supper on a 2 x 12 metre canvas that was designed to fit into the restaurant of the winery. The women in the painting are a collection of friends and family from the Bird in Hand winery. The painting explores women's role in creation and their contribution to a harmonious peaceful society, with images of love, spirituality, and creation further explored in the panels in the background.
The painting can now be viewed at the Bird in Hand winery in Adelaide. Thanks also to Creative Road for assisting with this project.


text:
Boylan-Haven-Mather Academy 1887-1983:
A Distinguished Legacy of Educational Excellence for African Americans
Boylan-Haven-Mather Academy began as three private boarding schools that eventually merged in Camden, SC. All were founded by the Women's Home Missionary Society of the Methodist Episcopal Church in the late 1800's to educate the children of former slaves.
The Boylan School began in Jacksonville, Florida in 1886, and the Haven Industrial Home and School (also referred to as Haven Home Industrial Training School) opened in Savannah, Georgia in 1885.
BROWNING HOME - MATHER ACADEMY
Mather Academy, the school in Camden, was founded in 1887. First known as the Browning Model Home and Industrial School, it was originally intended to teach females only.
Browning Home's genesis was a Freedmen's Bureau school, the "Camden Normal and Training School," operated on Broad Street by Sarah Babcock, a white teacher from Plymouth, MA, under the auspices of the Freedmen's Aid Society of the Methodist Episcopal Church. Later, as corresponding secretary of the New England Southern Conference of the Society, Babcock urged the group to establish a school on the 27-acre former Lang family plantation she had purchased during her prior stay in Camden.
A frame building was constructed on the site and named Browning Home after Fanny O. Browning, who'd left $2,000 towards the cost. A brick building replaced it in 1928.
In 1890, the New England Conference purchased the land from Babcock, who had married Rev. James Mather. That year, the first males --- John Maxwell, I.B. English and George McLain --- began attending. In 1900, at Babcock-Mather's request, the institution was named Mather Academy in honor of her husband.
Mather Academy expanded its curriculum over the years, offering grade levels from kindergarten through high school, and accepting applicants from across the nation as the school gained a reputation for excellence.
BROWNING HALL -- BHMA's signature building, dedicated on November 16, 1928. It housed administrative offices, girls' dormitory, chapel/original gymnasium, kitchen and dining hall, and several classroooms throughout its existence.
(Click HERE for details.)
Click the title to read about Mather and similar schools in an article from the January/ February 2000 issue of the NAACP's Crisis magazine. All played an important role in filling the gap and void in education for African Americans in a segregated America.
America's 'Other' Private Schools
'Oasis in the Desert'
Click the title to read Mather's impact as a pioneer educational and social presence in Camden. See document pages 65-68.
This 1814 former plantation mansion was Mather's first building, serving as a school and dormitory.
Sarah Babcock
Mather, founder
(Click photo above to view bio)
Click image above to view Freedmen's Bureau documents created by Sarah Babcock. (From FamilySearch.org.)
Click image below to view transcription of letter in documents.
(Click here for another bio)
The Two Mathers:
Same Name, Different Schools
CAMDEN -- 1887 by
Sara Babcock Mather
BEAUFORT -- 1867 by
Rachel Crane Rich Mather
CAMDEN -- Methodist
BEAUFORT -- AMA, Baptist
CAMDEN -- 1983
BEAUFORT -- 1968


McDavid, O. C., 1911-1998. Letter from Capt. O. C. McDavid to Inez McDavid, regarding sending a second batch of pictures home. August 20, 1944. Special Collections, University of Houston Libraries. University of Houston Digital Library. Web. April 19, 2019. https://digital.lib.uh.edu/collection/mcdav/item/552.
McDavid, O. C., 1911-1998, Letter from Capt. O. C. McDavid to Inez McDavid, regarding sending a second batch of pictures home, August 20, 1944, Captain O.C. McDavid World War II Letters, Special Collections, University of Houston Libraries, accessed April 19, 2019, https://digital.lib.uh.edu/collection/mcdav/item/552.
Description This one page handwritten letter by U.S. Army Captain O.C. McDavid to Inez is dated August 20, 1944 from New Guinea.


As a Business Development Manager, you will work with a small but impactful group of salespeople. You will have the opportunity to contribute to the growth of the company's revenue and expand your skill set through great collaboration within the organization and access to exciting and cutting edge new technology projects.
We are looking for driven, high-energy professionals with sound business acumen, technical aptitude, and natural sales instincts to join as a Business Development Manager. It's a hands-on sales role where you'll be developing and managing an enterprise sales cycle to bring new clients to the company.
Influence how we present ourselves to potential clients across North America and Europe, engaging in high level conversations and presentations with senior stakeholders.
Play a big part in the success and growth of Rangle.io. and influence how we scale out our future sales model.
Access to Rangle perks including an annual conference budget, workshops, weekly Lunch & Learns, and many opportunities to learn.
Opportunity to progress in your career as we go through our aggressive sales plan.
Experience selling into enterprise-sized companies and managing/closing complex sales-cycles. Eagerness to learn, persistence (sales is tough), reliability, confidence, collaborative and personable.
Experience selling Services is a huge plus.


Although of course i'm not taking 'modelling' seriously, i like to put together my outfits and post them on ere' ..nothing wrong with that is there? Here is one of my latest shoot with Christopher Cove (http://www.facebook.com/TheVividKingdom) - A published photogragher and film maker from Birmingham! I really enjoyed this shoot, despite the fact it was the day before it snowed. Unfortunately Chris is very busy in Paris (lucky him ay) and is unable to edit the rest of the pictures as of yet, but here is one from the lot to show you! Outfit wise - Now this will surprise you, the fur coat is actually from tesco.. In addition, its tremendiously warm and comfortable and the fur stays tame and trim unlike past fur coats (obviously faux). The shoes are from ebay - I can't remember the store, they were quite cheap actually and the quality are good! The wet look leggings you can find anywhere now-a-days. These in particular are from river island and i got them around a year ago, however, you can find them anywhere at the moment. I strongly suggest you shop around for things like leggings as i had a simple pair of khaki leggings from quiz and i also had a pair from UrbanOutfitters, before i say anything i'm the biggest fan of UO in the world so i wouldn't for a second slag my khaki khak's off but i must admit, the quiz pair are better quality and the UO colour has started to fade in to a mucky colour in areas! Here is the picture, and i'll add the remainder as soon as i get my hands on them.


text:
Thursday headlines: Clyburn reports breakthrough case of COVID-19
by Lindsay Street December 23, 2021 December 23, 2021
U.S. House Majority Whip Jim Clyburn of South Carolina has tested positive for the coronavirus. Clyburn, 81, announced Wednesday he is fully vaccinated with a booster and has no symptoms. The announcement comes a week after President Joe Biden visited South Carolina State University. Biden, who reportedly was exposed to the virus last week while traveling back from the state, has tested negative. More: AP News, The State
In other headlines:
S.C. is the fifth fastest-growing state from 2020 to 2021. According to the latest population estimate by the U.S. Census Bureau, data from April 2020 to July 2021 suggests that the state's population increased by 72,280 people, a 1.4% increase, bringing the total to nearly 5.19 million. The increase places South Carolina behind Idaho (3.4%), Utah (2%), Montana (1.8%) and Arizona (1.7%) and tied with Delaware (1.4%). The remainder of the top 10 fastest-growing states are Texas (1.3%), Nevada (1.3%), Florida (1.1%) and North Carolina (1.1%). More: Florence Morning News
With more people on S.C. roads, troopers ask folks to slow down. The S.C. Department of Public Safety says it is increasing its enforcement efforts after a busy year of traffic deaths and wrecks. More: WSAV
USC presidential search goes quiet as folks push for keeping Pastides. Harris Pastides just can't seem to stay retired. After being tapped as interim president of University of South Carolina, the former president is now being pushed to keep the position for another year as the USC presidential search goes quiet. More: The Post and Courier
S.C. House releases proposed congressional map that further splits SC-1. Two proposed maps of changes to South Carolina's 1st Congressional District have been released by the S.C. House to reflect changes in population growth in South Carolina. Both proposals break up SC-1 and move large parts of Charleston into SC-6, a move that some have called gerrymandering to protect the Republican incumbent in SC-1. More: WCBD
To get dozens of South Carolina news stories every business day, contact the folks at SC Clips.


Stephen King (one of my favorite authors) says that Ka (essentially life) is a wheel. The wheel will spin (as wheels do) and cover new ground as it traverses but it will always end up at the place it started turning. Think of it this way. If you mark an X on a bicycle tire (with one of those cool silver or gold Sharpies) and you ride your bike all over the neighborhood. You will have gone many places right? But the X will keep coming back to say the top of the tire right? That's what he means. Life is one big circle and while you may go new places and experience new things life will come back around again to a starting point. The way you interpret this starting point, I think, is entirely up to you. I've noticed a lot of wheel spinning recently in my life. Now I think we've come full circle.
When I started working at my job two and a half years ago, I met my boss, and there was no one else there except for two girls. One ended up being Nemesis, the AC hating girl who drove me nuts and the other ended up being a really cool Marvel loving chick who always got so excited about new movies coming out. They were the first two people I met aside from my boss. When I left yesterday, they were the last two people I saw at the office. Full circle.
The first place I hung out with my new work mates was a British pub a couple stations over. That was the place where we went last night. The first people I ever hung out with outside of work were all there plus a couple new faces. Full circle.
One of the first people I hung out with and became friends with outside of work, Artemis, was there to send me off. Full circle.
But the best and most emotional moment happened at the end of the night. You may remember me talking about my favorite colleague, Motoki. You can reread about it here if you so wish. On Wednesday, I got him a card and a small present. The card was full of thanks. Thank you for always supporting me. Thank you for your friendship. Thank you for talking with me. Finally, I reminded him to take care of himself. This last week at work we've talked a lot. We talked about how our line of thinking always coincided. We talked about health and family first. We talked about our job. Last night we drank (alcoholic) smoothies together. We laughed and talked. He sang me a special song at karaoke. We ended up on the same train just one line separating us. He walked me to my station gate, and I (already well beyond blubbering at this point) thanked him again for everything. Motoki was the first person I truly liked as more than just a casual acquaintance but as a friend. He was the first person at this job that I talked with serious things about. I confided in him and he was always there to lift me up. Last night while I sobbed at the station, he sent me off with a big smile. I'll remember that always. Full circle. We parted ways and I came home and cried into Prince Endymion's arms and told him I was so very sad.
To which he replied "Yes, that's me. I have cool laugh and everyday-different hair. As I get older, I might change but inside of me won't change an inch. I am here to be your friend forever. I won't forget the days of our time at XXXXXX and tonight's party. Good night and have a safe moving tomorrow. I already miss you." The best part about this was it reads exactly like he sounds.
I figured I couldn't write this without crying. If you read this blog, you know that I complained many times about how stressful my work was and that is the honest truth. However, I was able to work with some really amazing people (Nemesis excluded). I am fortunate enough to call some of those people my friends. I am totally and completely wrecked by this move but I will heal. I will make new friends and maybe eventually get a new job, but I will never ever forget the people who made me love the place I live, the people I will always roll back to and always call my friends.