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Toronto Film Review
Toronto Film Listings, Reviews and Criticism.
Oriane Sidre on Demolition
"After Dallas Buyers Club, Demolition confirms the ambiguous though regardless intriguing style of Jean-Marc Vallée. The filmmaker proposes a cinema which is divided between two stakes: that of the Hollywood tics, most notably through the psychological development of its characters, and that of his singular themes and rhythm. More so than the variations on mourning by the lead character in Demolition, the real interest of the film resides in the balance between these two aspects. Is is a balance that is sometimes precarious while on the other hand also fascinating."
Follow the link to read the great French film critic Oriane Sidre, in maybe one of its best reviews, on Jean-Marc Vallée's Demolition : http://lysao.hautetfort.com/archive/2016/05/24/demolition-5806314.html#more
Posted by David D. at 9:21 AM No comments:
Labels: Demolition, Jean-Marc Vallée, Oriane Sidre
Recommended Viewing: Take What You Can Carry & Contemporary Color
Two exciting films by the finest American independent filmmakers should be made accessible in the next few months: Matt Porterfield's Take What You Can Carry and Bill and Turner Ross' Contemporary Color. Porterfield's first film outside of Baltimore, Take What You Can Carry follows a dancer (who is played by the great Hannah Gross) as she gets ready for a new performance in Berlin and experiences loneliness from being abroad. While the Ross brothers continue their singular and generous documentary oeuvre and this time initiated by David Byrne on the world of high school color guards. Contemporary Color blends together the dance films of Maya Deren and Yvonne Rainer with the psychedelic trip of Walt Disney's Fantasia.
Labels: Matt Porterfield, Ross brothers
Cinema Scope's New Screening Series
Exciting news! The Toronto-based film magazine Cinema Scope held its first public screening of its current cover-issue film Lewis Klahr's Sixty Six (which is reviewed by Jordan Cronk in the issue) on Tuesday, May 24th. Cinema Scope has always been visible in the city with its issues in the good magazine stores, some of its critics being public film figures (regularly introducing films or moderating panels or director interviews), and a regular booth at Word On The Street and mutually beneficial sponsorship screenings at the Images Festival and the Cinematheque. But with this new series, by its managing editor Andrew Tracy and regular contributor and projectionist Sean Rogers, it's taking further steps to make the city its more visible physical home. This is instead of its critics, programmers and fellow filmmakers and comrades being more spread out and disperse throughout the world and the internet. This new Cinema Scope screening series is not the only exciting screening series in the city – the MDFF screening on Sunday of Matt Porterfield's Take What You Can Carry, also comes to mind – but these type of special events help remedy some of the major distribution and exhibition problems plaguing the world of art and independent film. Once the problems are identified and with Cinema Scope the exciting new films apparent then there can be the emergence of these micro-network showcases to best be able to see the work of these artists and their images of the world. Everybody wins.
Posted by David D. at 11:16 AM No comments:
Labels: Cinema Scope
Bruno Dequen's New Editorship of 24 Images
All it took was three issues. Since the departure of the previous chief-editor of 24 Images, Marie-Claude Loiselle leaving after 23 years at the end of 2015, Bruno Dequen, the new holder of the position, has been able to reorient the magazine by bringing to it a new fresh and youthful voice, improving the layout and sections to more clearly express its views, reaching out to cinema in its entirety through its multi-disciplinary and –platform incarnations while also holding on to some of its predecessor Loiselle's major values and never loosing sight of Québécois cinema as its centerpiece. Not an easy task! But which Dequen accomplishes with what appears as ease. So far the three first covers of Dequen's period includes Miguel Gomes' Arabian Nights with a feature on the major cinematographic shifts from 2010 to 2015 (which creates an intellectual base to build upon), then a Ben Wheatley High Rise cover with a dossier on new experimental documentary forms, and finally a Sylvain L'Espérance cover for his upcoming monumental Greece documentary Combat au bout la nuit (which seems to answer Loiselle's earlier call for exactly this in one of her last essays) and a roundtable on young cinephile culture from the perspective of 2016. Through continuity and rupture, Dequen took the magazine from a perhaps esoteric Trafic model to resembling something more like the mixture of Cahiers and Cinema Scope but specific entirely to Montreal, its cinephile culture and its repertoire film institutions and festivals. Ce n'est plus seulement du 'sérieux' mes maintenant ça inclus le monde. Each issue now is full of interesting articles (with the golden rule being that there should be at least five to warrant the purchase) all which answers the question of comment penser le cinéma aujourd'hui de Montréal? Some of these recent highlights include the pieces by its new writers like Alexandre Fontaine Rousseau (probably one of the biggest cinephiles to come out of Aylmer) on vulgar auteurism, The Forbidden Room and his own comical film-related drawings; Ariel Esteban Cayer on Isiah Medina's 88:88 and Adam Nayman's Showgirls book It Doesn't Suck; and Apolline Caron-Ottavi on André Habib's book La Main gauche de Jean-Pierre Léaud. These are all mixed together with pieces by its older writers, which all have a new personal urgency to them, like Dequen on Philippe Lesage's Les demons, Robert Greene's Kate Plays Christine and Edward Yang's A Brighter Summer Day; Robert Daudelin on Thom Andersen, or a special contribution by Leo Goldsmith on Dominic Gagnon's of the North. To celebrate this new energized activity Marcel Jean at the Cinémathèque Québécoise has been inspired to re-boot the old La Fête du cinéma program (May 20th to the 21st). With this level of confidence and joyous activity: everybody gains.
Posted by David D. at 4:48 PM No comments:
Labels: 24 Images, Bruno Dequen
Gorin In Search of Farber: Badiou's Philosophy and Routine Pleasures
In anticipation for the York University inaugural film-philosophy conference 'Coming to Terms with Film-Philosophy' on May 23-24, here is an essay I wrote for a Marxism and Form graduate course on Alain Badiou's cinema as a philosophical situation as applied to Jean-Pierre Gorin's Routine Pleasures. - D.D.
This essay will analyze Jean-Pierre Gorin's film, Routine Pleasures (1986), through Alain Badiou's conception of cinema as a philosophical situation. A close reading of the film, paying close attention to Gorin's voice-over commentary will be performed. The analysis will focus on the specific narrative and formal strategies of the film, while also situating it within Gorin's larger body of work, and elaborate on his interest in a popular American culture, such as the anachronistic model train club, and his relation to his mentor Manny Farber. Badiou's general philosophy will be discussed in particular his conception of the philosophical situation in cinema, choosing sides and politics. Badiou's writing on cinema, most notably the 2003 Cinema as Philosophical Experimentation and his essay on Gorin and Jean-Luc Godard's Tout va bien, will provide a framework to better understand Gorin's historical development and the formal operations of the film. The conclusion will offer fresh insight into contemporary concerns of the political and the aesthetics.
Alain Badiou on Cinema as a Philosophical Situation
For Badiou cinema is a philosophical experiment, which has its role of clarifying the distance between truth and power. To verify this thesis it needs to bear scrutiny and will be tested through applying it to an analysis of Routine Pleasures. One major component of Badiou's philosophy is of the event. Badiou writes, "We must think the exception. We must know what we have to say about what is out of the ordinary. We must think change in life." This leads to two particular interests for Badiou in terms of cinema, which is its relationship to knowledge and as a living relationship of transformation. Slavoj Žižek would describe the importance of the event for Badiou in terms of its resistance to the utility function of ideological state apparatuses and through its engagement with a universal cause that disrespects opportunistic considerations.
Badiou's notion of cinema as a philosophical situation is non-evaluative and prescriptive. For Badiou, philosophy is first to clarify the fundamental choices of thought, secondly to clarify the distance between thought and power, and finally to clarify the value of the exception. So how would this apply to the analysis of a film? How could a film fulfill the role of clarifying the distance between truth and power?
One of Badiou's examples of a philosophical situation comes from Plato's dialogues, that of Gorgias, where Callicles gets into a confrontation with Socrates. Their debate is a philosophical situation because,
Socrates' thought and Callicles' thought have no common measure. They are foreign to each other. And the discussion between Callicles and Socrates consists solely in showing that we have two kinds of thought here with no common measure, a relationship between two terms that are foreign to each other.
The philosophical situation is the moment when choice is clarified, when a form of existence is confirmed. This response from the audience to think about the narrative unfolding in terms of having to choose, to choose between two types of thought, and forming a decision is one of Badiou's example of how film can perform philosophy.
These are just some of his general ideas from his philosophy, which, as he sees, can be shown through cinema. For Badiou cinema is the best art form to show the world today, to create something new and produce revolt. Badiou writes,
I would say that cinema is a metaphor for contemporary thought… A thinking that's grasped in the mobility of its reflections, a thinking that absorbs human presence in something that exceeds it, that takes it over and projects it all at once A representation of the world in which human presence is affirmed over against an extremely powerful exteriority.
This film-philosophy must be universal, and implicitly address the masses, which he traces its history as building upon an older tradition such as Stéphane Mallarmé's poetry.
So then what is the event for Gorin and in Routine Pleasures? What knowledge does Routine Pleasures produce and what relationships does it transform? And if for Badiou, cinema transforms philosophy and the very notion of an idea by creating new ideas about what an idea is, then what exactly does this mean in regards to Routine Pleasures? As well if cinema is a philosophical situation for Badiou, which he defines as the conflict between two non-related and opposing terms, through its argumentation and emerging ideas, then how exactly is this illustrated in Routine Pleasures? These are some of the questions that this essay will attempt to answer.
Routine Pleasures and Badiou's Event
Routine Pleasures is the second film in Gorin's California trilogy, which includes Poto and Cabengo (1980) about two young girls who speak in an anomaly dialect and My Crasy Life (1992) about a Samoan street gang in Long Beach, California. Routine Pleasures is perhaps the most autobiographical of the three films since in it Gorin analyzes his own interest in the American mythologies that motivated him to move from France to San Diego, California to work at the interdisciplinary film program at the city's university, which Manny Farber helped form. It is an unclassifiable film as it goes from documenting a miniature railway club to analyzing Manny Farber's paintings to becoming a free form filmic diary.
What choices or sides are spectators forced to make in front of Routine Pleasures? And are there opposing thoughts being presented? The film is divided into three autonomous perspectives. There is the model train club, and the diversity of its group (all who gather at the Del Mar Fairgrounds every Tuesday evenings), there is Farber, who is there through Gorin's accounts of their conversation and through his paintings and criticism, and finally Gorin, with a heavy French accent describing his journey into both of these worlds.
If there are differences between the groups, such as backgrounds, age, classes, political affinities, it is not an antagonistic relationship between the two (such as was the case in Badiou's example between Callicles and Socrates), but of compatible world-views that for brief periods come together. But since Gorin is coming to the project from the perspective of the filmmaker, one might assume that he holds a position of power. But this is not the case as Gorin elaborates in an interview with Jean-Paul Fargier, Ici et là-bas (Cahiers, October, 1986, N°388),
There was an enormous amount of work to make these guys actors, as they have never been in front of a camera… I had many problems directing them. It took me a long time to make these guys subtle, capable to appear relaxed and even to have a certain dominance over me. What interests me is when the subjects dominate over the filmmaker, when they impose their own logic and force a change in the original idea and it then becomes a voyage full of surprises.
These conflicts and accommodations come out in multiple scenes throughout the film. The club members who includes conductors, dispatchers and mechanics get the opportunity to discuss their own backgrounds, life and loves, which reveals them to be more complex humans. For example, Corky Thomson discusses participating in the founding of the club in 1958, his work as a refrigerator repairman, and his loving wife Barbara whom he makes with his own Super 8 films of real trains. The specialized knowledge of the model train hobbyist and their discussion of it allow them to assert an authority and intellectual rigor to their field. The reason that they allowed Gorin to make his documentary was that they could eventually get the unused footage to then make their own film. And finally the members even made a replica of Gorin's Citroën car for their landscape to initiate him in the club, which they also used to express their annoyance with him when he overstayed his welcome.
But Farber is perhaps more important to the shaping of the structure of Routine Pleasures. Gorin described his meeting Farber as one of the most decisive encounters of his life while Farber has described Gorin as his 'twin brain'. Even though in the film Farber is only presented through a series of photographs he is still very much present through Gorin's recounting of some of their encounters and his penetrating analysis of his paintings (Have a Chew on Me, Birthplace: Douglas, Arizona). Gorin describes Farber's role in Routine Pleasures in the Fargier interview as being, "constituted as a mythological personality, as if he was a Virgilian guide through this American landscape, more of a psychic American landscape than a real one."
What Farber contributes is an influence on the structural patterns of Routine Pleasures. Through Gorin's recounted conversations with Farber, two forms of thought are confronted, and stimulate Gorin to re-focus his film, which he does. The film is divided into many sections, all with descriptive intertitles, and accompanied with jazz to transition the scenes. Gorin utilizes Thelonious Monk strategy of the wrong note at the right moment, which inevitably produces the right note. This imperfection and form of improvisation parallels many of Farber's own ideas as elaborated in one of his seminal essays White Elephant Art and Termite Art (1962) – that of not aiming to create an entire world, but to dig deep into a very specific one and through it to express something meaningful. Gorin describes this approach in the film,
[Farber] went for, he said, 'Films where the spotlight of culture was nowhere in evidence where the filmmakers could be ornery, wasteful, stubbornly self-involved, doing go-for-broke art and not caring what comes of it.' And he wrote the same way, 'He attacked it as the termite's way, a relentless gnawing at the borders of the subject, a way to chew on it so thoroughly, that there was nothing left to spit out.
Farber would also influence the progression of the film. As when Gorin recounts that this would be his equivalent of a Howard Hawks, William A. Wellman, John Ford or thirties worker out-fit films (Gorin's references), Farber would retort to, "Drop the nostalgia bit, and dig in." Gorin would also re-orient the film when Corky hints that Gorin should film more of their footage (that of the toy trains circulating, which extra stock footage Gorin would give to the club), and when Gorin asks Farber if he could include his paintings in Routine Pleasures, it would now also force Gorin to split the focus of the film between the train club and with Farber.
These acts of reflection and action could be seen as Badiouan events, that of psychological and temporal ruptures for Gorin which creates an experience where there is a before and an after. Badiou writes, "philosophy is the moment of the rupture reflected in thought." These paradoxical relationships, that of being steadfast in one's views and then letting things change, would be the synthesis goal of Badiou's philosophical situations.
The film enacts these confronting perspectives, but unlike Badiou's example, there is a common measure between Gorin and his subjects and there appears to be a harmonious progression. If the philosophical situation in cinema is the moment when a choice is clarified, this can be illustrated by how Gorin realizes how to more honestly proceed and acting upon this. But this is not the antagonistic relation between reason and power, knowledge and the state that Badiou had in mind.
Perhaps a better example of this relation can be seen through the focus on these club members and their relation to their period. The activity of the club members necessitates a desire and commitment to return the Del Mar Fairgrounds at least twice a week. This choice, decision and commitment can be seen as political. Gorin sees Routine Pleasures as a film about the eighties, as described in the Fargier interview,
It's a film about the privatization of obsessions, which I think is a fact of the times. It's a film about an increasing conservative country, but made from the inside and without any irony. It declares that this phenomena is really American, that of a group that is held together by reactivating a lost America through imagination.
This would be the outside-of-the-frame Reaganism of the period. In face of the restrictive political government of the times, these club members provide a breath of fresh air, that of leisure, mastering their universe, and proceeding at their own pace and time. To choose to be on the one side with these club members is that of identifying with these routine pleasures, modest tasks and joy in the small. This parallels some of Badiou's own social commentary, such as his response to rapid capitalism by emphasizing slowness.
This relates to the importance Badiou places on the idea of potential victories. The notion of victories, and the recognition of the victories, are events for Badiou. According to Badiou,
For a long time, with the idea of revolution there was the hope of a great potential victory, a definitive irreversible victory. And then the idea of revolutions disappeared. We are the orphans of the idea of revolution. As a result, we think that no victory is possible anymore, that the world has lost its illusions, and we eventually become resigned. Cinema, however, says in its own way: 'There are victories even in the worst of worlds.' Naturally the victory probably doesn't exist any longer, but there are individual victories.
To be faithful to these victories has the emancipatory quality of offering hope for a better future. Through the organization of filmmaking to render a sensible worldview out of the infinite possibilities of existence, these scenes and images of victory provide a counterpoint of hope in contrast to a despairing reality. Perhaps modest, the viewing of the activity of working on these miniature train sets instills a vicarious excitement. As Gorin describes it, "Theirs was an imagination that went for the humdrum and the routine, and within that routine little flurries of activity that gave the game its salt."
The idea of these small victories transitions to Badiou's ideas on love, which he describes as, "Quite simply, love is also what resists death, as Deleuze and Malraux said about the work of art. No doubt this is what true love and the work of art have in common." Similarly to philosophy's role to discern the distance between truth and power, the event of love expresses the gap between this privileged relationship and the ordinary rules of life. This can be illuminated by Routine Pleasures in a few ways: for the club members there is the expression of their effort and energy, which they put into their trains and carts, in the phrase, 'Good-looking train.' For Farber how his paintings reflect one of his life philosophies, 'That it – life – wasn't too big a deal, and shouldn't be painted as one.' Or how Gorin steadfastly gets absorbed into his filming to the point of corresponding with his German producer Stein idiosyncratic and undecipherable letters.
Routine Pleasures is also biographical for Gorin and reflects his own history and relationship to politics. One of Gorin's regular comments in interviews, after having long been known as one of founders of the politically motivated Dziga Vertov Group, is, from an interview with Camille Nevers and Vicent Vatrican, French Connection: Entretien avec Jean-Pierre Gorin (Cahiers, January 1994, N°476),
It's kind-of funny that one can't start talking about me without saying: 'Twenty years ago he was one of Jean-Luc Godard's collaborators. Since then we haven't heard from him, but we now have found him again, and he's not dead…' So, yes, I would rather talk about something else.
Badiou has appeared at least twice in Godard's films: he is cited in La Chinoise (1967) and appears briefly giving a lecture on Husserl to an empty hall on a cruise in Film socialisme (2010). Godard is also filmmaker who Badiou has written the most about and who he describes as the great director of contemporaneity. Badiou has even written an essay on a Godard and Gorin film, The End of A Beginning: Notes on Tout Va Bien, which film he describes as an allegory of gauchismes on the wane.
This is the rupture in his past that would lead Gorin to move to the United States where he experienced his important encounter with Manny Farber. Gorin describes it in the Nevers and Vatrican interview, "this occasion has led me to move onward after my Calvinist relation to Jean-Luc Godard. With Farber I encountered a personality with a bizarre language, who at first really seduced me." Routine Pleasures is the story of this change in Gorin's life.
In Routine Pleasures Gorin discusses his new life. The voice over states, "It had been my fifth Fourth of July here. I wasn't French anymore but I wasn't quite American either. It made me prone to bouts of unspecified nostalgia… And one led me to the Pacific Beach and Western and to the train people." On the year 1958, the opening of the train club Gorin remarks "The time of De Gaulle's return to power and of my first stumble into politics." He goes on, "Their strange connection to childhood threw me back to the heroes of mine. I had been brought up by a Trotsky-ite and fed a steady diet of American proletarian potboilers because the Stalinist kind wasn't tolerated at home."
Gorin's previous Marxism, commitment in mastering the English language and understanding the reality of American culture emerges throughout Routine Pleasures. Gorin notes,
Wasn't it my fascination with the noble hand that had landed me from Paris, France in the makeshift station of the Pacific Beach and Western for a chat with Chester… an old navy who was always the first one to file in every Tuesday night?
While Farber describes Gorin more like, "You are all Remembrance of Things Past. But they aren't your things and this isn't your past."
These biographical events for Gorin can be related to Badiou's ontology, which Hallward describes as, "Badiou defines ontology as what is 'sayable of being as be-ing', that is, what can be articulated of being exclusively insofar as it is, in the absence of all other qualities including the contingent quality of existence itself." This relates to mathematics because its possibilities represent what can even be thought of as being in its totality. Mathematics isolates the gesture of presentation in the present and through this equation Badiou is able to find a language to describe the general situations of all potential situations. For Hallward, "L'être et l'événemen begins, then, with the decision that one is not and once we have this decision it follows that multiplicity is 'the general form of presentation'."
This multiplicity of presentations relates to Gorin's biography as recounted through their singularities in Routine Pleasures and confirms Badiou's ontology as a situation of being and events. The event and truth being that which stimulates a change in being, that of not being as being and the declaration of it as such. Hallward elaborates,
The operation of a truth can be divided into a number of closely related moments: the naming of the event; the intervention that imposes this name and makes it stick; the division of those elements of the situation that affirm or fit the name from those that do not; the establishment of an enduring fidelity to this name.
The intervention is the courage to name the event and affirm its truth. Gorin through the recounting of his biography suggest a fidelity to the experiences that he has passed through and is actively faithful in embracing and acting upon these events.
That of returning to Routine Pleasures in 2016 offers a fresh perspective on the film. More so than as a documentary on an anachronistic miniature train club, meditation on Farber and his paintings and film criticism, or even Gorin's evolving Marxism and his interest in American culture. Instead its charms of the club routinely come together for the pleasure of a common good with the modest aims, not of fame or riches, but to take their long and slow time to set up this miniature world, which ends up offering one of the best pictures of what is positive in American society. Routine Pleasures is a miniature epic, an "America under budget and in a shoe box," according to Gorin. It should be appreciated along other comparable films such as James Benning's American Dreams (1984) and Lewis Klahr's The Pettifogger (2011). There are even more of its pictorial and formal qualities that are worth mentioning before concluding such as all of the details on the many trains and carts or the film's shift away from black-and-white to color film stock when the trains start to get active. Or even its unique and musical use of sounds and noises such as that of the machines or of the club's nature recordings. So much in Routine Pleasures allows for the visual and sonic reorienting in its viewer, which Badiou's philosophy allows to better comprehend in its singularity. An important film then and still today.
Posted by David D. at 12:47 PM 1 comment:
Labels: Alain Badiou, Jean-Pierre Gorin, Manny Farber, Routine Pleasures
A Must See: Nadia Litz's The People Garden
Nadia Litz's sophomore film The People Garden is a mysterious film about a young woman going to Japan to break up with her rock-star boyfriend only discover that he's been missing in a haunted forest. A cool film from its opening dance scene to Kate Bush's Running Up That Hill to the performances of the American actresses Dree Hemingway (Starlet) and Pamela Anderson and finally to its tone that recalls the films of Kiyoshi Kurosawa. Just like in Litz's Hotel Congress (2014) a couple goes on a trip to discover what's truly in the darkest place of their hearts. Nadia Litz's The People Garden, along with Matt Johnson's Operation Avalanche, are so far two of the best films of the year. There are some great young filmmakers working today in Toronto. - D.D.
Labels: Nadia Litz, The People Garden
Recommended Crowd Funding Campaigns
It can't be easy to make a film. Just acquiring finances to be able to make it, the logistics of production, mobilizing actors and a crew, time spent actually filming, finishing the film and sending it out to film festivals. No easy task. And on top of that having a good idea and knowing how to best tell it. An even harder one. It helps though I'm sure when there's an encouraging community that wants you to succeed. With that in mind I'll recommend, if you can afford it or if not just to spread the word, four new Indiegogo crowdsourcing projects: Acres, S01E03, Delta Venus and Shadows in the Grass.
Rebeccah Love's perseverance to continue to make proudly Canadian projects full of creativity and heart is admirable. This new project Acres is set around the Rideau Lake Farms and deals with a young adult trying to live off of his farm whose life gets whirled up when his sister, her husband and their childhood friend Harriet comes by to help. Acres sounds like a blend between Bernardo Bertolucci's 1900, Jean-Marc Vallée's Wild and Denis Côté's countryside films, which I'm sure Love would bring her own touches to. There are many greats perks with gifts including an original drawing, a homemade pie, and a personal short story.
Following that Kurt Walker is making his second features S01E03, after last year's Hit 2 Pass, which seems inspired by early two-thousands teenager soaps like The OC, machinima and avant-garde docs. The Indiegogo page includes a nice essay by Walker and a sample clip. Wishing them all of the luck!
With what's an all-star Toronto DIY filmmaker cast Sofia Banzhaf, Nicole Dorsey, Karen Harnisch and Kristin LaPensee's new project Delta Venus is about the lives of four young millennial women (all played by the filmmakers themselves). The collaborative process on this seems so unlike most films being made in Toronto or even in the world. The campaign page includes a trailer for the film and an impressive selection of perks.
Finally Matthew Nayman has a new science fiction project in the works, Shadows in the Grass. The special effects and plot sounds quite sophisticated.
When so much contemporary media is so detached from everyday life and its concerns, these four projects, all ambitious and personal, offer a breath of fresh air. Hopefully what's planted in the spring has time to grow to be blooming in the fall.
Labels: Acres, Delta Venus, S01E03, Shadows in the Grass
New Canadian Film Movement: Toronto DIY Filmmakers


I can't get Archivist to work with Collections. I end up with a blank page when clicking on a month from the archivist list.
&parent=`2` is a collection and &target=`10` is the resource that should show the result.
The collection (parents=`2`) is not hidden from menu, neither are the resources in it.
Sounds like the same issue I have been experiencing. I know it's older but I will follow this thread for any help or solutions.
Seems like "Archivist" has minimum support recently, but I do not see another solution out there that produces these results.
Can you share the link you followed to resolve this?
UPDATE - I had an issue with an old ifEval code call in the getArchives tpl which was the cause of this issue and not getArchives as I had originally thought!


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Archive for "Light Up Gold"
Parquet Courts' Black Cat Show Was Raggedly Sublime
Posted in Uncategorized with tags "Content Nausea", "Light Up Gold", "Sunbathing Animals", Black Cat, Parquet Courts on February 8, 2015 by johnbuckley100
These days, Parquet Courts face the inverse challenge to what they were dealing with in late 2012, when Light Up Gold put them on the map. Back then, the question was whether the manic splendor of their live shows could be bottled and served up on vinyl, beer reek intact. Two albums and an E.P. later, the question last night was whether a young act that has created some of the greatest recorded music of the past two years could have the tonal precision of that sound and those songs translate well live.
Regrets, we have a few, and when queried on our death bed, we know that ranked high among them will be our not having put Sunbathing Animal on the 2014 Tulip Frenzy Top Ten List (c). And that wasn't even their only album last year! We must have been birdwatching or something, but somehow we missed the release, late in the year, of Content Nausea, which while not a Parquet Courts album proper — it was essentially a dual album made by Andrew Savage and Austin Brown — revealed a band that in a single year had emerged as a recording act justifying its titular sobriquet as "The Most Interesting Band In America." So how would *this* sound translate in a packed Black Cat where Parquet Courts were now headliners?
Andrew Savage's voice was rubbed raw — he said it was due to an ill-advised karaoke competition. When it all worked, such as on simpler thrashers like "Ducking And Dodging" and "Borrowed Time," the skewed and sweaty dive bar ethos rang true, the house rocked, the crowd roared, clouds of sweat were formed. But songs more dependent on getting the perfect vocal and guitar tone (say, "Black and White") suffered a bit and brought to mind the irony that this magnificent punk band might best be heard through its studio output.
If Tom Verlaine were the Dalai Lama, and the body of monks were assembled to choose his successor, unquestionably Austin Brown would be the prodigy who would correctly identify his plectrum from a pile of confederates. Our love of Parquet Courts circa 2015 stems from their having moved from Denton, TX to Brooklyn, NY and, as they gathered chops, decided to channel the sounds of circa 1977 Television on an epic night in the Bowery. They are so much more than a band offering a derivative of New York at the end of the '70s — to begin with, few are the artists who place as much energy and emphasis on intelligent lyrics as Andrew Savage does. That they've thoroughly incorporated the Marquee Moon dynamic — not just the guitar work, but the dumb-boy choruses as well — makes us revel in their glory. And this: hearing a song like "Everyday It Starts" — which on Content Nausea had basically fill-in drums, but last night had the full propulsion of Max Savage living up to his name — makes us realize these guys, when at their best, could give the Entertainment-era Gang Of Four a run for their Bitcoin.
So it wasn't a perfect show because Andrew Savage wasn't in the finest vocal fettle, and having seen them in front of 100 people in 2013, we know how amazingly they can play live when the stars are aligned. And our expectations have been raised by the genius exhibited on their prodigious recorded output. But if one wanted to confirm or deny whether the Parquet Courts were deserving of being Spin Magazine's 2014 Band of The Year? Yeah, based on last night, totally.
The # 8 Album On The Tulip Frenzy 2013 Top Ten List ™ Is Parquet Courts "Light Up Gold"
Posted in Music with tags "Light Up Gold", Parquet Courts, The Tulip Frenzy 2013 Top 10 List, Top Ten List 2013 on December 8, 2013 by johnbuckley100
We began the year by declaring that Light Up Gold was either the last great album or 2012 or the first great album of this year, and thank Heaven, for history's sake, the judges ruled them into the present 365-day cohort. For when this rec came out in November last year, we missed it. We're so glad it was re-released in time to kick January off with a bang. And so glad we got to see them play live this past summer.
Here's what we said about this album eleven months ago:
"If you have ever heard the Brian Eno demo of Television circa '75, with Richard Hell still part of the band, you'll begin to grok the raw'n'thrilling state these tyros presently inhabit. Yeah, Richard Hell pre-Voidoids, without the showoff articulation of Ivan Julian and Bob Quine on guitar, but the otherwise loss of the ability to do anything but pogo in excitement at the ruckus they're creating? You got it, real rock'n'roll, with Light Up Gold being re-released approximately now, giving it a 2013 release date even though it came out nigh on two months ago."
This is a band to watch, and rumor has it, that follow-up album coming out in January kicks.
Parquet Courts' "Light Up Gold" Is Either The Last Great Album of 2012, Or The First Great Album O' This'n Year
Posted in Uncategorized with tags "Light Up Gold", Parquet Courts, Richard Hell, Television, The Rocketship on January 6, 2013 by johnbuckley100
When you listen to Parquet Courts' Light Up Gold, you can almost smell the sweat fog in the tiny Brooklyn clubs where the material was honed, and you unconsciously lift your feet from the floor to make sure spilled beer hasn't affixed you to something far less glamorous than parquet. We can easily understand why so many people who have appropriately lost their minds in fandom for the young Texan migrants to Area Code 718 keep referencing the Modern Lovers, but really, there is a far, far more apt mid-'70s comparison to these young garage rockers. Playing Light Up Gold back to back with Television's Marquee Moon only reinforced the brilliance of the latter, not least of which how amazing the sound was on the first Television studio release. But if you have ever heard the Brian Eno demo of Television circa '75, with Richard Hell still part of the band, you'll begin to grok the raw'n'thrilling state these tyros presently inhabit. Yeah, Richard Hell pre-Voidoids, without the showoff articulation of Ivan Julian and Bob Quine on guitar, but the otherwise loss of the ability to do anything but pogo in excitement at the ruckus they're creating? You got it, real rock'n'roll, with Light Up Gold being re-released approximately now, giving it a 2013 release date even though it came out nigh on two months ago.
We saw reference to them in the January Uncut Magazine while in an airport waiting room, and downloaded the album by the time Group 37 was being loaded onto the flight. People looked at us funny as we bounced in our seat, shouting aloud above the headphone roar. You'll react the same way too, especially if you go see them this Wednesday night at D.C.'s The Rocketship.
On "Orc," John Dwyer's Oh Sees Make A Statement

redpajama_set_name: RedPajamaCommonCrawl


We Service all of Florida and Treasure Coast. We remove your junk vehicle from your property. We accept donations or just get it removed. We pick it up hassle free. We all benefit from a cleaner earth. We at AA Auto Salvage handle all of the business so you can get back your time and money. No vehicle is too big, whether it's wrecked, runs, blown motor whatever the case we pick it up same day. We remove the car and put the cash in your pocket! Conveniently Located on US1 in Fort Pierce.
This junk yard is situated in Fort Pierce (Florida) and it's providing high quality auto pieces to its potential clients in the area. In case you want to request an estimation for your old vehicle or ask for a particular junk part, please get in touch with them using phone, tollfree and email.
The perfect way to save large amounts of money on spare parts for your car is by visiting a vehicle wrecking yard, and this is a great choice in the Vero Beach neighborhood.
Residents of the Stuart neighborhood can purchase a gargantuan catalog of used parts for their cars in this salvage yard. You can get in touch with them via: phone, tollfree or email. More information: The Eagle Motorcycle Salvage timetable info is not available yet.
This business placed in the town of Stuart (Florida), delivers an highly efficient service to its purchasers, with attractive discounts but with the best quality and a large variety of catalog. Visitors have the possibility to get in touch with them using: tollfree, phone and email.
It's easy to economize a lot of money on the maintenance of your beloved auto by purchasing used spares with guarantee in this leading in Okeechobee surroundings junk yard. More info: The Jim`s Parts Place Salvage timetable information is not available so far.
Purchasers can find this junk yard in the environs of the city of Okeechobee (Florida). Its main business model is the distribution of vehicle parts at the best prices in the area and providing all the warranties that you may wish. In case you need to get in touch with them, you can do it by these methods: email, phone or tollfree.
The perfect way to save large amounts of money on second-hand parts for your car is by approaching a vehicle salvage yard, and this is an excellent option in the Melbourne surroundings.
Habitants of the West Palm Beach area can check an inmense catalog of used spares for their cars in this junk yard. You can contact them using: phone. More information: The ABC U-Pull-It timetable information is not present so far but you can review its web.
You can economize large amounts of money on the repairs of your loved car by purchasing second-hand pieces with warranty in this well-known in West Palm Beach surroundings salvage yard. Additional information: The Thousdands of Parts timetable info is not available yet.
You can save a lot of money on the repairs of your beloved vehicle by buying used parts with guarantee in this prominent in West Palm Beach neighborhood business. Additional info: The U-Pull-&-Pay LLC opening hours info is not included yet but you can check its website.
Second-hand vehicle parts do not commonly come from unknown brands, especially those you generally locate in salvage yards. Typically, they come from third-party businesses that manufacture for the main brands of vehicles and are well known. Before buying a piece, take your time to investigate the brand. There are more expensive and cheaper brands, depending on their reputation and the manufacturing standards that apply to their products. It is always a good idea to invest a few dollars more in a part of a known brand, because it will surely work better over time.
If you purchase second-hand spares in a salvage yard, you should make sure that they are close quality to an OEM component. Usually, knowing the quality of a used piece for your auto can be complicated if it is the first time you purchase one. Gather all the info you can about the performance of the part on websites and forums to know which pieces reviews are best for you. You can also ask at the junk yard, a trusted mechanic or a friend.
It is important that you buy only from providers that have a good reputation, that will save you a lot of trouble. You will know that it is a reliable seller because of its knowledge of the second-hand pieces market and the different brands that produce components for your vehicle. Ask him some questions and check if they know the latest sector news and the different qualities of spare parts that you can buy.
It is essential to know all the characteristics of the spare you need before purchasing it. A crucial information is the vehicle identification number, also called VIN.
If it is a little part, you can take it to the supplier when you go to get the new one. This will help you compare and make sure you do not make a mistake in your purchase.
Keep alert with duplicate pieces, as they are not original and specific to your auto, so they are not safe at all. In general, duplicate pieces are easy to locate, since they have a slightly different appearance and some errors, such as typography or logos.
What you see here is a list of the most recent cars put up for sale in our section addresed to the market for scrapping parts. We recommend that you take your time to visit that section and discover some deals you didn't expect!.


网易云音乐是一款专注于发现与分享的音乐产品, 依托专业音乐人、 dj、 好友推荐及社交功能, 为用户打造全新的音乐生活。. Vishwanath from Karadi Path Education Co. - Workshop for Teachers On 7th January Powai enjoyed an enlightening , Bombay Scottish School teachers of Mahim interactive workshop conducted by Mr. Online shopping from a great selection at Movies & TV Store.
It is the third installment of the Dhoom series. The film sees Abhishek Bachchan and Uday Chopra reprise their roles as protagonists Jai and shopping from a great selection at Movies & TV Store. Get the popcorn and pretzels ready: carries all the popular movies you' re looking for, so any night of the week can be movie nta Clarita ( Ca), United States; Phoenix ( Az), United States; Iquitos, Peru; Phoenix | United States.
网易云音乐是一款专注于发现与分享的音乐产品, 依托专业音乐人、 dj、 好友推荐及社交功能, 为用户打造全新的音乐生活。. - Workshop for Teachers On 7th January, Bombay Scottish School teachers of Mahim and Powai enjoyed an enlightening and interactive workshop conducted by Mr.
Vishwanath from Karadi Path Education Co. shopping from a great selection at Movies & TV Store. The main objective of this workshop was to empower teachers of all disciplines with techniques to ensure their students comprehend well, so.


Larger Amazon Go-powered stores are being tested.
Amazon's cashier-less shopping tech could come to a full supermarket.
As reported by the Wall Street Journal, the tech giant is experimenting with its Amazon Go technology at a larger store.
At the company's seven Amazon Go stores in Seattle, Chicago, and San Francisco, shoppers scan in with their mobile devices, then pick their product and walk out.
The technology uses a mix of computer vision, sensor fusion and deep learning to register what you're buying, then charges your Amazon account when you leave.
According to sources who spoke to the news outlet, Amazon is testing its technology at a space in Seattle, which has been arranged like a large store.
Higher ceilings and shelves, and a bigger product range means it could take more time for Amazon to get the technology right, which currently works well for smaller stores. There's also the issue of how the technology would work with items like fruit and vegetables, which unless pre-packed, need to be weighed to determine price.
While Amazon Go is more of a convenience store, with limited groceries and prepared foods, the intention is to apply the technology to Whole Foods, according to WSJ's sources. An average Whole Foods has 34,000 items.
Both Amazon and Whole Foods declined to comment on the rumor to the news outlet, but given Amazon purchased the supermarket chain for a whopping $13.7 billion last year, the partnership makes sense.
It's hardly a surprise that Amazon is looking to spaces with a bigger footprint. In July, Microsoft was reportedly in talks with Walmart and other retailers around the world to implement automated, cashier-less technology.


Feel that? It's the pull of the redesigned GorillaPod Magnetic Mini: a portable, compact tripod with red-hot magnetic feet that inspires a multitude of mounting options for your smartphone, point-and-shoot or action cam. Simply stick it to any magnetic surface, adjust your angle and shoot!


text:
BMW, Benz Give up on Car-Sharing App in the U.S.
BMW and Daimler Pull the Plug on Share Now Car-Sharing App in North America
Is this the beginning of the end for app-based luxury car-sharing services?
By jay ramey Published: Dec 21, 2019
Daimler and BMW are shutting down Share Now, the app-based car-sharing service, in all U.S. and Canadian cities at the end of February 2020. Share Now has been operating in Seattle, New York, and Washington, D.C., in the United States, and in Vancouver and Montreal in Canada as well as in a number of European cities, offering an app-based alternative to popular ride-sharing services such as Uber and Lyft, with a selection of cars that used street parking spots.
The planned shutdown of Share Now in North America follows the abrupt end of BMW's ReachNow Pacific Northwest operations in Portland and Seattle in July of this year. The service had been operating since 2016 and had offered BMW 3-series, i3 and Mini Cooper vehicles to users. Daimler's Car2go, which merged with ReachNow, had been around longer and had offered Smart and Mercedes-Benz vehicles since the early part of the decade. The two companies left a number of cities in the U.S. and Canada, including Calgary and Portland, in October of this year. Share Now had more than 100,000 users in cities like Portland and Seattle, even though the car fleets in those cities counted in the hundreds of cars.
What's to blame for the abrupt end of this car-sharing service, which counted approximately a million users in North America?
"The decision to close North America was made based on two extremely complicated realities," the company said. "The first being the volatile state of the global mobility landscape, and the second being the rising infrastructure complexities facing North American transportation today—such as a rapidly evolving competitive mobility landscape, the lack of necessary infrastructure to support new technology (including electric vehicle car share), and rising operating costs."
The planned phase-out of Share Now in North America raises one big question for the long-term viability of similar services: If it hasn't been profitable for Mercedes and BMW, even using less expensive cars like Mini Coopers and Smarts, for what company could it be profitable, and where?
Out of the reasons cited, we suspect that the growing use of Uber and Lyft played a bigger role than the lack of EV infrastructure in cities, since most of the cars offered were not electric. As for rising operating costs, the service certainly suffered some expenditures earlier this year when as many as 100 Mercedes-Benz vehicles were stolen in Chicago.
But even aside from that isolated event, industry watchers have been voicing skepticism over the long-term viability of app-based luxury car sharing via apps, citing high costs to users and the high costs of vehicle maintenance. It had also become painfully apparent that the operating costs and ease of maintenance for vehicle fleets could vary widely city by city, which is why services like Share Now and Car2go launched only in certain cities, and then left cities one by one while staying in others. There was also no way around passing down the costs of fleet maintenance to the users.
Industry observers also worried that the increased use of ride-hailing services (even if they've been having profitability issues by themselves) would overwhelm the car-sharing business model in volume simply because they could be used on a whim and required less planning by users, especially with car-sharing payment options based on the number of minutes, hours, or days the car was in their use. For something like a short shopping trip with payment by the minute or hour, that factor alone could be stressful for users because they had to hurry to save money. The amount of time spent at a destination likely would not have been a factor with a ride-hailing app.
Despite this retreat, the service is not shutting down completely.
"Moving forward, Share Now will focus on the remaining 18 European cities," the company said. "We, along with our shareholders, believe these markets show the clearest potential for profitable growth and mobility innovation."
From: Autoweek
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2023 Hyundai Ioniq 6 EPA Range: Up to 361 Miles
Going All Night at the 24 Hours of Daytona
The 2024 GMC Hummer EV SUV Is in Production
Tesla EVs Getting Written Off, Too Pricey to Fix
2023 Mach-E Prices Dropping Between $400 and $5700
©Hearst Autos, Inc. All Rights Reserved.


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text:
Појам Нен може да се односи на:
 Нен (река у Енглеској),
 Нен (река у Кини),

redpajama_set_name: RedPajamaWikipedia


text:
Watch Amazon Animals Discover Themselves in a Mirror
July 05, 2018 - A mirror was set up in the Amazon rainforest by a wildlife photography workshop called Untamed Photography. The aim was to better… more
Camera Traps
July 05, 2018 - A mirror was set up in the Amazon rainforest by a wildlife photography workshop called Untamed Photography. The aim was to better understand intelligence of big cats in the Amazon. Wild cats and other animals that approached reacted in various ways. Some were scared. Others were curious. It's relatively rare for an animal to have the capacity for self-recognition. It takes human babies 18 to 24 months to catch on to what they're seeing in the mirror. Some animals like dolphins, elephants, and some great apes know they're looking at themselves. Others just stand perplexed in front of the glass.
A mirror was set up in the Amazon rainforest by a wildlife photography workshop called Untamed Photography.
The aim was to better understand intelligence of big cats in the Amazon.
Wild cats and other animals that approached reacted in various ways.
Some were scared.
Others were curious.
It's relatively rare for an animal to have the capacity for self-recognition.
It takes human babies 18 to 24 months to catch on to what they're seeing in the mirror.
Some animals like dolphins, elephants, and some great apes know they're looking at themselves.
Others just stand perplexed in front of the glass.
See how this school of tiny fish uses bacteria to glow in the dark
Behind the scenes: A rumor about opiates and pangolin scales is debunked
This sacred golden fish thrives in Bhutan
How a fish might grow your next salad


text:
Q: Upgrading capybara from 1.0.1 to 1.1.4 makes database_cleaner break my specs I have an old Rails application upgraded to version 3.2.11 that has a lot of request specifications written using capybara version 1.0.1 and running using the selenium driver. The database are cleaned after each test using database_cleaner using the truncation strategy.
I want to use poltergeist instead of selenium and upgraded capybara from 1.0.1 to 1.1.4 to be able to use the latest version of poltergeist. Only changing the capybara gem (and its dependencies) introduced problems running my specs.
I consistently get deadlock errors from my Postgresql database in the cleanup handler after each spec. My spec_helper is pretty basic and looks like this:
RSpec.configure do |config|
  config.mock_with :rspec

  config.use_transactional_fixtures = false

  config.before(:suite) do
    DatabaseCleaner.strategy = :truncation
    DatabaseCleaner.clean_with(:truncation)
  end

  config.before(:each) do
    DatabaseCleaner.start
  end

  config.after(:each) do
    DatabaseCleaner.clean
  end
end

The error I get is like this:
An error occurred in an after hook
  ActiveRecord::StatementInvalid: PG::Error: ERROR:  deadlock detected
DETAIL:  Process 41747 waits for AccessExclusiveLock on relation 17612 of database 16396; blocked by process 41752.
Process 41752 waits for RowExclusiveLock on relation 17529 of database 16396; blocked by process 41747.
HINT:  See server log for query details.
: ALTER TABLE "aaa" ENABLE TRIGGER ALL;ALTER TABLE "bbbb" ENABLE TRIGGER ALL;ALTER TABLE "ccc" ENABLE TRIGGER ALL;
  occurred at /xxx/.bundle/gems/activerecord-3.2.11/lib/active_record/connection_adapters/postgresql_adapter.rb:652:in `async_exec'

I use FactoryGirl to create test data but otherwise nothing special IMO.
I haven't been able to figure out what holds the other end of deadlock that is created by database_cleaner. Any ideas to figure that out are most welcome.
Anybody know of any changes between capybara 1.0.1 and 1.1.4 that has changed and may have started to cause these issues?

A: I got around this issue in cucumber by placing
sleep 0.2

at the end of the step (or in your case "spec") that does some AJAX stuff. I imagine what happens is that cucumber/rspec calls database cleaner while the JS driver is still waiting for the ajax response.

A: The fix isn't to use sleep but to only use Capybara API methods as they wait for what's expected.
Below, line 2 fails (as current_path is non-waiting, but line 3 works (as has_selector? waits). The link to Jonas Nicklas' article below explains it well.
click_on 'signup_button'  # Which does an AJAX redirect to /dashboard
assert_equal dashboard_path, current_path  # This causes the deadlock error as Capybara doesn't wait.
assert page.has_selector?("#dashboard")  # This works as it causes Capybara to wait for the new page.

http://www.elabs.se/blog/53-why-wait_until-was-removed-from-capybara

A: The solution we use is to find something in the page that should change in response to a successful ajax call. So something like:
click_on('Save')
expect(page).to have_content('Saved')

redpajama_set_name: RedPajamaStackExchange


text:
On a Clear Day I Can't See My Sister är det elfte avsnittet av den sextonde säsongen av den amerikanska tecknade komediserien Simpsons. Avsnittet sändes för första gången på FOX den 6 mars 2005.

Handling
Eleverna på Springfield Elementary åker på exkursion till Springfields glaciär. Denna har dock nästan helt smält i en damm och består endast av snöslask. Lisa skyller detta på den globala uppvärmningen, men föreståndaren på utflyktsmålet håller inte med. Samtidigt besöker Homer och Marge snabbköpet Sprawl-Mart, där farfar Simpson är butiksvärd. Han råkar dock ut för en olycka och ber Homer ta över.

Vid glaciären retar Bart Lisa för att hon engagerar sig så starkt för exkursionen. Tidigare satte han flera gånger krokben för Lisa, innan han i utställningshallen karvade ut en nidbild av Lisa på en stenyta. Medan Lisa talar om den globala uppvärmningen inför de andra eleverna, stjäl Bart två walkie-talkier från föreståndarens kontor och lägger den ena i Lisas ryggsäck. Bart gör i sin walkie-talkie prutt-ljud vilket gör att eleverna tror att Lisa fjärtar. Eleverna skrattar åt Lisa och Bart kastar en snöboll på henne och hon faller ner i den iskalla dammen. Det som återstår av glaciären smälter bort och upp ur dammen kommer Lisa – med en groda på huvudet. Ilsken lovar hon Bart att hon ska hämnas.

Nästa dag får Bart veta att Lisa har fått ett besöksförbud mot honom beviljat. Nu får han inte komma närmare Lisa än 6 meter. Bart blir förargad och protesterar mot detta, men han hamnar då i häktet. Homer undrar hur Bart ska kunna hålla sig borta från Lisa. Polischef Wiggum vet på råd och visar familjen Simpson "Försvinn ur mina drömmar – och även ur min bil", en videofilm om hur man hanterar besöksförbud, presenterad av Gary Busey. Homer tillverkar en lång stång med en skruvmejsel som spets. I skolan tvingas Bart att tillbringa dagen i vaktmästare Willies redskapsbod som stinker gödsel. Skollunchen får Bart inta utomhus och han tvingas åka i en kundvagn efter skolbussen. Bart uppsöker doktor Hibbert som konstaterar att Bart drabbats av nervskador efter att han blivit stött av mejselspetsen på Lisa stång. Doktor Hibbert försöker ge Bart en botande injektion, men skadar Bart ytterligare.

På Sprawl-Mart fikar Lisa med Homer. Hon tycker att det är skönt utan Bart. Chefen upplyser Homer att han kommer att bli utlämnad till Mexiko, om han inte arbetar övertid utan bonus. Chefen övertygar Homer då han visar ett förfalskat mexikanskt identitetskort med Homers fotografi. Marge bestämmer sig för att få besöksförbudet upphävt, men under domstolsförhandlingen råkar Bart förolämpa domaren, som då utökar besöksförbudet till 60 meter. Detta innebär att Bart måste tälta i trädgården, som förefaller större än tidigare. Han anpassar sig till de nya förhållandena och lattjar med hundar, sover under bar himmel och urinerar fritt. Marge är dock fundersam över det hela och frågar Lisa om hon inte har gått för långt med Barts besöksförbud. Lisa lovar att bränna besöksförbudsdokumentet om hon kan komma på tre positiva saker Bart har gjort för henne.

På Sprawl-Mart låser chefen in Homer och hans arbetskamrater på natten. Homer har fått ett chip inopererat i nacken för att chefen ska kunna kontrollerna honom, men han river ut det. Därefter rånar han affären på plasma-tevear och blåser iväg med en gaffeltruck. Bart bygger en staty som föreställer Lisa; hon blir överväldigad och ser den som den tredje goda gärningen. Det kryper dock fram att Bart tänkte bränna statyn; Lisa säger då till Bart, att hon har saknat hans lögner. Lisa bränner besöksförbudsdokumentet och stången. Familjen återförenas och spelar tillsammans låten "Tijuana Taxi", medan Bart jagar katten.

Referenser

Webbkällor

Avsnitt av Simpsons säsong 16
TV-avsnitt 2005


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With more than a century of automotive manufacturing expertise, Windsor-Essex has earned the title of "Automotive Capital of Canada".
The automotive sector is evolving and changing at an incredible pace. The "Automobility Membership Program" will help our region diversify from traditional auto manufacturing to next-generation mobility innovation by offering fully funded one-year Memberships with the Windsor-Essex Regional Chamber of Commerce.
Self-driving technologies, light-weight materials, connected and autonomous vehicles, electrification, artificial intelligence, cyber security and smart traffic equipment are technologies that are driving the auto industry into the future.
As a resilient and industrious community, Windsor-Essex is embracing transformation and innovation to remain competitive in this rapidly changing global marketplace.
Last September, the Federal Economic Development Agency for Southern Ontario (FedDev Ontario) announced a $5 million, three-year investment to the WindsorEssex Economic Development Corporation (WE EDC) to support our region in transitioning from traditional automotive manufacturing to transformative automotive technologies.
To help achieve this, local organizations across Windsor-Essex are partnering to develop a coordinated approach to grow and sustain the region's automobility cluster.
Led by WE EDC, funding will support four key objectives:
advance automobility technologies
promote a vibrant innovation and competitive entrepreneurial network
expand the Windsor-Essex Automobility Innovation Cluster
conduct global outreach and nearshoring
Overall, this project is expected to support 165 companies, establish 20 new partnerships, and create and maintain 665 jobs, while strengthening the region's competitiveness. The overall goal is to attract an estimated $9 million in foreign direct investment, as well as help businesses integrate into global markets.
The Automobility Membership Program is one of the initiatives being funded to promote an entrepreneurial network by offering fully funded Memberships with the Windsor-Essex Regional Chamber of Commerce.
If you're a company or organization whose products and services are related to the automobility innovation cluster, you are immediately eligible to join!
Automobility Membership Program benefits include access to Chamber Member savings programs and discounts, business advocacy at local, provincial and federal levels, a Member spotlight in the new Automobility Section of our newsletter and website, invitations to exclusive Automobility events, a fully funded one year Membership with the Detroit Regional Chamber of Commerce and a lot more!
The Automobility Membership Program is endorsed by Shelley Fellows, Chair of Automate Canada, and Scott Fairley, CEO of Optimotive Technologies, the program's first Member.
While reflecting on the rich automotive heritage in this region, Windsor-Essex knows that diversification is key to resilience, and a collaborative effort is needed to realize its full economic potential. By promoting a vibrant ecosystem and embracing automation, smart technologies and innovation, WE EDC aims to make Windsor-Essex a leader in transformative automotive technologies and undergo a global re-brand, becoming the "Automobility Capital of Canada".
For more information on the Automobility Membership Program, contact Sales & Project Manager, John Newland, at 519-966-3696 x229.
The Automobility Membership Program is just one of the Chamber's many exciting initiatives. Other projects are focused on Technology Assessment in order to help companies become Export Ready.
(with files from Susan Anzolin, Institute for Border Logistics and Security)
Program flyer available here.


text:
India records 9,216 Covid-19 cases, 391 deaths in last 24 hours
New Delhi, Dec 3: India reported a total of 9,216 Covid-19 cases and 391 deaths in the last 24 hours, the Ministry of Health and Family Welfare said today.
According to the Union Health Ministry's data, the active cases in the country currently stand at 99,976. Active cases presently constitute less than 0.29 percent of the country's total positive cases.
India's recovery rate currently stands at 98.35 percent.
A total of 8,612 people have recovered from Covid-19 in the last 24 hours, pushing the total recovery to 3.40 crore.
The testing capacity across the country continues to be increasing. India has conducted 11.57 lakh tests in the last 24 hours.
India's Covid-19 vaccination coverage has exceeded 125.75 crore. Under the mass vaccination drive, a total of 73.67 lakh vaccine doses were administered in the last 24 hours.
India completes 1 year in Covid-19 vaccination drive, over 156.76 crore doses administered so far
Novak Djokovic looses legal battle to avoid deportation from Australia


text:
Rear Admiral Steven D. Poulin
SOUTHCOM Director of Operations (J-3)
Rear Admiral Poulin serves as U.S. Southern Command's Director of Operations, directing U.S. military operations across the Caribbean Basin plus Central and South America. Previously, he was Commander of the First Coast Guard District, where he directed all Coast Guard missions across eight states in the Northeast including over 2,000 miles of coastline from the U.S.-Canadian border to northern New Jersey and 1300 miles offshore.
RADM Poulin's other flag assignments include the Judge Advocate General and Chief Counsel of the Coast Guard, where he led a dedicated group of legal professionals and was responsible for the delivery of all legal services in support of the Coast Guard's missions, its units and its people. From June 2012 to April 2014, RADM Poulin served as the Director of Governmental and Public Affairs, where he was responsible for external engagement with Congress, the media and other intergovernmental entities.
From October 2010 to June 2012, RADM Poulin served as the Chief, Office of Maritime and International Law. From April 2009 to July 2010, he was the Commander of Coast Guard Sector Mobile, where he directed Coast Guard operations in Mississippi, Alabama, and the Florida Panhandle. He further served as the Incident Commander for Deepwater Horizon oil spill response operations in that same geographic area from April 2010 to September 2010. His previous operational tours include Deputy Commander, Coast Guard Sector Mobile; Deputy Commander, Coast Guard Group Galveston, Texas; and Law Enforcement Officer and Assistant Operations Officer at Coast Guard Group Mobile, Alabama. He was assigned as a Deck Watch Officer on USCGC DAUNTLESS (WMEC-624) from 1984-1985.
RADM Poulin also was a Special Adviser for Border and Transportation Security in the Office of Vice President Cheney, from 2005-2007. From 2003-2004, he was the Coast Guard's liaison to the State Department's Office of Oceans Affairs, where he served on U.S. delegations to myriad committees of the International Maritime Organization (IMO). He was the Legal Counsel for the Coast Guard's Port Security Director from 2002-2003, where he helped negotiate, draft, and implement new port and maritime security requirements. From 1999-2001, he served as the Legislative Counsel in the Coast Guard's Office of Congressional Affairs. He also served on the U.S. delegation to the Legal Committee of the IMO, from 1994-1996. From 1992-1994, he was assigned to the Coast Guard's General Law Division.
He graduated from the U.S. Coast Guard Academy in 1984 with a Bachelor of Science in Management. He was awarded his Juris Doctor, magna cum laude, from the University of Miami School of Law in 1992. Other degrees include: Master of Law (Environmental Law), with highest honors, from the George Washington University Law School in 2002; Master of Strategic Studies from the U.S. Army War College in 2005; and Master of Public Administration from the University of South Alabama in 1989. His military decorations include the Defense Superior Service Medal, Legion of Merit (five awards), Meritorious Service Medal (four awards), Coast Guard Commendation Medal (three awards), and Coast Guard Achievement Medal.


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Progress in the Campaign to End Child Marriage in the U.S.
Location Filter: Baltimore, Greater DC, Houston, National, San Francisco Bay Area
Topic Filter: Child Marriage, Forced Marriage
Over the last few months, the debate around U.S. immigration policy has been on our minds and in the news every single day. As communities across the country respond to a rapidly shifting landscape, Tahirih has significantly increased its investment in serving and advocating for protections for immigrant victims of violence, thanks to the Emergency Fund to which so many of you contributed.
While that work progresses, we are driving forward another ongoing campaign — to end forced marriage in the United States, starting with changing antiquated state laws that still make child marriage legal in this country. Our policy team is working hard to ensure that children can no longer be forced or coerced into marriage and to protect children from the devastating, lifelong consequences that can result from child marriage.
Astoundingly, child marriage is a real problem in the United States, affecting thousands of children each year. Girls as young as 12 have been allowed to be legally married, sometimes to much older men.
After conducting a thorough analysis of the laws that make this possible, Tahirih is working state-by-state to ensure that adequate legal protections are in place to prevent this threat to girls' health and human rights.
Just last year, we succeeded in achieving a new law in Virginia to ensure that only adults (age 18 or older, or court-emancipated minors) could be married. And now, we are providing legal expertise and advocacy on bills in California, Connecticut, Maryland, Massachusetts, Missouri, New Hampshire, New Jersey, New York, Pennsylvania, and Texas.
In March alone, Tahirih:
Supported a courageous former Tahirih client as she gave incredibly powerful testimony about her own painful forced marriage at age 16 in support of a Maryland bill to make 18 the minimum age of marriage, and reached out directly to all 188 Members of the legislature;
Secured bi-partisan champions for a bill in Texas that would require parties to be 18 or older (or court-emancipated) before they could marry;
Submitted written testimony in hearings on a bill to make 18 the minimum age of marriage in Connecticut
Prepared talking points for the New Hampshire Coalition Against Domestic and Sexual Violence to rally support for a bill to make 18 the minimum marriage age;
Reached out to key stakeholders and survivors across California to build support for a bill to make 18 the minimum age of marriage, ahead of an April hearing;
Advised and informed fellow members of an expert working group on child, early, and forced marriage in Massachusetts on improving protections for minors in the state;
Advocated with the Governor's office and allied agencies in New York for a bill to raise the minimum marriage age to 17 and to ensure a strong judicial approval process to screen for forced marriages;
Reached out to the Missouri Coalition Against Domestic and Sexual Violence and the bill sponsor to try to strengthen a minimum marriage age reform bill there;
Participated in a telephonic news conference with the sponsor of a bill in Pennsylvania to raise the minimum age of marriage to 18.
Our work to end child marriage is fast-paced and exciting. We welcome you to read weekly updates on our progress on our Facebook page. In the meantime, let us know if the subject of child marriage hits home for you.


There are several advantages of electric scooters. They are light and easy to carry so it gives you a trouble free riding experience. There are quite a few companies that manufacture electric scooters so it is important to have a general understanding about them before you purchase one. It will help you to purchase the best electric scooter for your kids.
1. Alternative Transport: Since electric scooters are very cheap, they make it quite convenient for travelling. Also they don't run on fuel but a battery so you can save quite a few bucks with your scooter.
2. No License Requirement: Electric scooters are low speed vehicles so they do not require a minimal speed license.
3. Portability: Most of the electric scooters are portable because of their light weight and compact design. Therefore, you can carry your scooter to your country side camping trip as well. It also makes repair and maintenance of the scooter quite feasible.
4. Assurance: it is very important that kids get complete safety while they ride their scooters. Electric scooters are normally hand operated and there are enough equipment to ensure safety of your child.
5. Luxury: Electric scooters are quite a comfortable ride because they are meant to be entertaining. They are both seated and unseated so you can enjoy any riding mode you like.
6. Eco Friendly: Electric scooters don't make noise nor they eject smoke because they run on batteries.
7. Easy Maintenance: they do not require much of maintenance and even if they do in rear cases, electric scooters do not have complex parts so the maintenance is quite simple and convenient.
8. Easy Parking: the design is quite sleek and compact with low weight so they can be parked with a lot of convenience.
9. Easy Assembly: Parts can be easily assembled through manufacturer's manual. Customers said that it is very simple and doable by kids as well.
10. Low Priced: These scooters are quite cheap and low priced so you can also gift these items to your friends and children.
11. Fun Factor: For kids who wish to have a fun time on their own, these scooters are just perfect. They offer an amazing riding experience.
12. Smooth Rides: the scooters have such intelligent designs that they offer smooth riding experience on any type of road. The motors and powerful brakes ensure that safety is observed.
13. Time Management: In cities laden with traffic, these scooters are ideal because they can be ridden on walkways and you can take short cuts from almost anywhere you like. For shorter distance travelling, you can cancel the idea of a walk and take your light weight scooter for a ride.


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My Lies, Your Lies
Author(s): Susan Lewis
Location(s): Paris, Devon, London
Era(s): Present and looking back to 1960s
For readers of Lisa Jewell, Diane Chamberlain, and Jodi Picoult comes another gripping novel from internationally bestselling author Susan Lewis, about an eccentric old woman, the ghost-writer helping write her memoirs, and the destructive secrets binding them together.
Ghost-writer Joely Foster has been asked to write the memoir of an eccentric old lady with a troubling past. Relieved to have a break from her own marital difficulties, Joely escapes to the woman's isolated house, where she gets to work writing about a pivotal event in Freda Donahoe's life. On its surface, the story is of a fifteen-year-old girl being groomed at school by her teacher. But Freda is determined to set the record straight by showing that the girl was complicit in the seduction, and had only called the police when she was spurned. But that's just half the story…
Joely delves into her work, learning more about the events that happened all those years ago. She is soon surprised to discover that the truth lies much closer to home and is bizarrely connected to her. How can Freda's past be linked to Joely? Could the teacher be someone near to her?
As the story of Freda's past unravels, it spins Joely into a dangerous world of secrets and lies she could never have imagined, causing her to question everything she thought she knew about her family.
Breathlessly intriguing from the first page to the last, My Lies, Your Lies is an unforgettable novel that intertwines the fascinating past of one mysterious woman to the present of another woman with a harrowing, unexpected twist.
To review this book, please
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The Truth About You


Immaculee Ilibagiza is coming to Church Point for a 2 day retreat on June 30th - July 1st. This will be a Friday evening & Saturday morning at Our Lady of The Sacred Heart Church. This is a unique opportunity to spend a weekend of "Healing & Hope" with Immaculee that you will not want to miss! (If you don't know who she is, look up her story!) This will also count for CEU hours for those educators needing them. (Contact Debbie Fontenot @ dfontenot@ompwildcats.com for more information of credit hours.) Go to: www.immaculee.com for more information about Immaculee and this event as well as to purchase your tickets. Tickets are $57/individual or $76 for One Plus Guest. Limited seating available.


We are looking for dynamic and committed people to work with us to support the realisation of Transform 19 from 26 April-4 May. We are reaching to those with experience as Venue Managers, Front of House Managers, and as Front of House Assistants, to support the delivery of the festival across multiple locations and sites.
You will have Front of House experience in similar positions for festivals, theatres, or events. Based in our Festival Centre, and in locations across the city, you will be calm, approachable, and ready to provide exceptional audience experience and safety.
Please include details of any First Aid training and qualifications you have in your expression of interest.
You must have availability during 26 April – 4 May, and for additional briefing days/meetings in the run up to the festival. These are paid freelance roles.
To apply, please send a brief email of interest and CV to – sammy@transformfestival.org by Friday 12 April. Please include details of your availability during the festival period.


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Q: weight variable based on opposite direction variable I have two variables. From these two variables, I want to produce one weight variable. The first (A) is a percentage, 0.0 - 1.0. The second variable (B) is a count, 0 to infinity. I want to weight the first variable by the second. For variable A, closer to 1.0 is considered negative and closer to 0.0 is positive. However, for variable B, closer to 0.0 is negative and approaching infinity (real max is probably ~2,000) is considered positive. I want to find observations that have the lowest of variable A and the highest of variable B as a "best" value and the inverse as a "worst" value.
When I use a simple weighted arithmetic mean, I produce the following the results:

A
B
C

0.4
100
40

0.3
100
30

0.2
100
20

0.1
100
10

0.4
20
5

0.3
20
6

0.2
20
0.4

0.1
20
0.2

Both the highest (40) and lowest (0.2) are not descriptive of necessarily the "best" or "worst" values. However, the value 10 (A = 0.1, B = 100) is the "best" value.
How can I adjust the variables so that maximum and minimum values are indicative of positive and negative?
Three methods come to mind:

*

*Determine the "best" value then calculate the absolute difference from of each value in variable C from that value.

*Calculate the percentiles for variable A and variable B. The top percentile (100) would be for the best variable in each category, the lowest value in variable A and the greatest value in variable B. I would then multiply the percentiles.

*Invert the values in one of the variables. For example, the value in the 95th percentile would be the value for the observation at the 5th percentile. I would then use a simple arithmetic weight.
What method can be applied to weight the variable as described? Is there another method I should use? If yes, what is it and why?
Edit: Variable A is a wildfire risk index. Overall, it ranges from 0.0 to 1.0 with 1.0 being extremely high risk. However, for the area of study, the top value is around 0.7. Variable B is a the number of trees of a specific species of concern. Each observation in the table is a census block group.


text:
Q: Load a resource from a .jar not as a stream I am making a small tool in Eclipse which needs to run a C executable - the file is in one of the packages and runs fine inside the IDE.
When I try to package it as a .jar though, nothing seems to work - InvocationTargetException, NullPointerException, they've all showed up while trying to fix it, and I'm pretty sure the .jar doesn't work because files can't be accessed inside it without using getResourceAsStream(). I've tried using getResource() but it just returns variations of where the file should be - but it can't be accessed as it's in a jar.
Many questions here of the same nature are answered by using getResourceAsStream(), but I'm not sure that works for an executable. Is there a way to access a file inside a .jar other than the resource stream method? Or am I just thinking of this the wrong way, and there's a simple solution I'm missing?


text:
Classified in: Science and technology, Business, Covid-19 virus
Subject: VEN
Bit announces $36M in total funding to help organizations scale component-driven development
TEL AVIV, Israel, Nov. 16, 2021 /PRNewswire/ -- Bit, the global company behind the open-source tools and cloud platform for components, today announced that it has raised $25 million in Series B funding led by New York-based global venture capital and private equity firm Insight Partners. Insight joins existing investors Disruptive VC and entrepreneurs from companies such as Wix and Snyk, adding further momentum to the company's exponential growth. To date, Bit has raised $36 million in funding.
The latest investment from Insight will help Bit further expand its offering and empower developers and organizations alike to build component-driven software. Earlier this year, Bit released a new beta product version which was quickly adopted by hundreds of organizations including Dell, AT&T and Moody's, to help them transition from monoliths to component-driven software, driving development consistency, speed and scale.
"Accelerating digital innovation is critical for modern businesses to drive success and make an impact," says Ran Mizrahi, Founder and CEO of Bit. "But scaling the development of modern applications is hard. While components are the primitive of the modern web, with old tooling developers are still forced to build web applications in a monolithic way. Even applications built using component-based frameworks like React are still developed, versioned, and deployed as a single project, and all of their code is internal to each application. As applications and developers scale, development becomes slower and the user experience becomes inconsistent. "
Bit changes that by distributing application development to independent components. With Bit, developers can build independent components and compose them into features and applications, helping them to scale development while maintaining a fast pace of delivery and a consistent user experience. "This latest funding from Insight Partners will help Bit galvanize and enable developers and organizations to distribute and scale development to meet modern business demands," adds Mizrahi.
Bit's impact on modern application development was not overlooked by Teddie Wardi, Managing Director at Insight Partners. "Bit's innovative solution for digital collaboration and development at scale has positioned the company as a category leader," said Wardi. "The platform's compounding value for organizations and proven ability to help developers do better work, faster, make it a clear market fit in our modern world. Insight is looking forward to this exciting next phase in Bit's ScaleUp journey."
Components in Bit can be anything from UI elements to entire features, pages and even backend services. Each set of components can be developed, released, and owned by an autonomous team, distributing the development of web applications in a similar sense to how microservices helped distribute and scale backend development. While Bit empowers product teams to be more autonomous and deliver independently, features like component templates and reusable development environments help companies standardize how their components are built and shared, creating a scalable and repeatable process for contributing features.
Organizations from dozens of industries are already using Bit to build better products faster, even as they scale in developers and applications. One of Bit's Fortune-10 customers sees the platform as a key for the future of building composable applications in their organization: "Our transition to composable applications and component-driven architecture is driving significant value for us. We are able to deliver digital products and services on a global scale, enabling autonomous teams to build and deliver features independently, while the organization can orchestrate these components to compose applications and develop faster and more consistently at scale. This would not be possible today without the Bit platform."
When COVID-19 hit in 2020, Bit gave up its physical office in favor of a virtual office on Discord. This transformed the company into a fully remote and global organization almost overnight. Soon after, leading contributors from the open-source community began to join the company which now operates in four continents. "Discord, and going remote, has allowed us to build our team like we want to build software ? in a distributed way," adds Mizrahi. "Every team in the company builds and owns components, even marketing and HR. We experience the joy and pains of our customers and use our tools to build exactly like we allow others to build."
The company is now working to release its next component-driven tool, Ripple CI. The first CI/CD tool built for components, Ripple CI continuously integrates changes to components across all applications and teams in the entire organization. It even provides visual previews, so that all product stakeholders can become active contributors to the process and manage the organization-wide effect of changes. Ripple CI will go into private beta before the year's end and will be generally available in 2022.
About Bit
Founded in Tel Aviv by Ran Mizrahi, Yonatan Sason and Jonathan Saring, Bit is a global company operating remotely in 4 continents. Bit's mission is to distribute software development from monolithic apps to components, while helping developers and organizations develop fast and consistently at scale. Bit's open-source tools and SaaS platform help over 200k developers and dozens of Fortune-500 companies scale and improve web application development by tapping into the power of components. Visit Bit's platform on bit.dev or follow Bit on Twitter at @bitdev_.
About Insight Partners
Insight Partners is a leading global venture capital and private equity firm investing in high-growth technology and software ScaleUp companies that are driving transformative change in their industries. Founded in 1995, Insight Partners has invested in more than 400 companies worldwide and has raised through a series of funds more than $30 billion in capital commitments. Insight's mission is to find, fund, and work successfully with visionary executives, providing them with practical, hands-on software expertise to foster long-term success. Across its people and its portfolio, Insight encourages a culture around a belief that ScaleUp companies and growth create opportunity for all. For more information on Insight and all its investments, visit insightpartners.com or follow us on Twitter @insightpartners.
SOURCE Bit


text:
Pre-school children raise $15,000 for less fortunate students
Star Learners Child Care organised a fun fair at Downtown East on Oct 13, 2018, to raise funds for The Straits Times School Pocket Money Fund and The Business Times Budding Artist Fund.ST PHOTO: KUA CHEE SIONG
http://str.sg/onXn
Jolene Ang
jolenezl@sph.com.sg
SINGAPORE - Instead of spending Saturday (Oct 13) playing with his toys at his home in Bukit Batok, six-year-old Hon Hock Rong was hard at work selling keychains in Pasir Ris.
He was taking part in a fun fair at Downtown East, organised by Star Learners Child Care, to raise funds for the Straits Times School Pocket Money Fund (STSPMF) and Business Times Budding Artist Fund.
Hock Rong, whose father is a software engineer, said: "I wanted to do this to help those who don't have enough money."
Prepared by the childcare teachers, the wooden key chains came with a painting kit, and were in the shape of "everyday heroes" - the theme of the fair - such as chefs, policemen, nurses and firefighters.
About halfway into the event, Hock Rong said he had sold 16 of them at $10 each.
He added his everyday hero is a cleaner, who "protects the Earth from pollution".
The fair, attended by about 2,000 children and parents, was expected to raise about $15,000.
There were more than 20 booths manned by the children, where participants could play games or purchase crafts.
Star Learners' chief executive Tan Meng Wei, 45, said: "Today is all about celebrating everyday heroes, and by that, we don't mean Ironman or Spiderman.
"Building character is paramount in our syllabus - it's not all about academics but also about building empathy and respect.
"We chose to donate to STPMF because it's well-established and we know where the money is going to."
Ms Faith Tang, 32, who works in administration, was proud to see her six-year-old daughter Taylor Beh manning a booth at the fair. She said: "It's good to start them young and to have this culture (of character-building)."
The STSPMF currently supports about 10,000 students from low-income families. The fund gives pocket money to students whose families earn less than $625 in per capita gross monthly household income.
The Business Times Budding Artist Fund aims to make the arts accessible for children and youths from financially disadvantaged backgrounds, and disburses funds to students whose families earn below $690 in per capita gross monthly income.
STRAITS TIMES SCHOOL POCKET MONEY FUND