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Exclusive: Legendary Dancer Ana Laguna
by Savannah Saunders
At a glittery gala awards ceremony in the beautiful Italian town of Positano on the Amalfi Coast, the legendary Ana Laguna and Mats Ek were awarded the Lifetime Achievement Award as part of the 42nd Positano Leonide Massine dance prize.
Spanish dancer Ana Laguna and Swedish choreographer Mats Ek share an iconic and powerful partnership not only in life, as husband and wife, but also as a creative artistic force. This partnership, their lifetime dialogue and collaboration, changed the landscape of ballet in the late twentieth century.
Ana Laguna spoke exclusively with The Wonderful World of Dance about the Lifetime Achievement Award which was presented to her by Carla Fracci, Italy's revered prima ballerina, "it's wonderful, a great honour to receive such a prize. It means also you have a lot of memories of someone who has so much to do with contemporary dance and Mats he is a very contemporary choreographer too."
Ana Laguna and Carla Fracci
Ana & Mats
Ana Laguna's long and distinguished career began when she joined the Cullberg Ballet in Sweden at the age of 18, having a breakthrough moment in Mats Ek production of St George and the Dragon (1976). It was this meeting at the Cullberg Ballet that blossomed into a lifetime of collaboration, Ana explains, "I worked with Mats before we even developed privately. That is something which people mistake because they think that we worked together because we are together.'"
Ana and Mats have worked separately on creative projects and established themselves independently before coming together. And it is this history and their established process for working together that's so important to their creative work and their relationship.
Creating Giselle
One of Mats Ek's pivotal works is Giselle which he famously created on Ana as his muse. It is easy to imagine that a choreographer discovers their muse, feels inspired and simply creates ballets, roles or pieces for that dancer – that the dancer is inspiration only and removed from the process. But it is the coming together in the exploration of the emotions, the history and the interpretation of a role or ballet that breathes life into a new creation. A journey together, dancer and choreographer, Ana shares her experience of working with Mats on Giselle, "The part was created for me, but it was created together with me. I was there at that moment and if it had been somebody else, he would have created another kind of Giselle.
"When we did Giselle, we went into who Giselle is and I tried to go into what Giselle felt and what [Mats] wanted to do with Giselle. I tried to understand Giselle, what she thought and when we talked about it, who is Giselle and how in that moment she reacts. In that case she wasn't me. She comes through me and also because it was me."
Ana's illustrious career has seen her dance around the world and with the ballet greats. When I asked Ana to select some career highlights she said she found it difficult to select just one or two moments from a career that includes dancing with Rudolf Nureyev and Mikhail Baryshnikov, "I think there are so many highlights for me, all of them I could say are highlights. I have had the chance through my years of dancing to work with some wonderful creators. I think the moments are so much in relation to what you do at that time."
Preparing for roles
Ana has been celebrated for her sensitivity to her roles, her interpretation and her technique and musicality. Ana has always thoroughly prepared and researched the roles she is gifted to dance, "I think we have to do the research. If you play Juliet in a ballet and you dance Juliet and you've never read anything about Juliet in Shakespeare, how can you present Juliet as she is? How can you put yourself in the situation as Juliet if you don't know who Juliet is? So, of course, you need to research.
"With Juliet – you are Juliet in that place, so the stage is your village square, it's your balcony, the room where you sleep or your nanny. If you make that place yours, the audience will be able to come into your world and understand that. If you're trying to convince the audience to 'Here, look, now I am on the square. Now I am on the balcony' then somehow the audience doesn't really believe."
Ana continues discussing her role as Carmen, "It is not enough to only take Carmen from the opera. With all the research you have to go down into the soul [of the characters]. To find who these people are and only in that way you can go into that person's situation. I believe I have to go into that person's situation rather than that person coming into me.
Mats Ek's Carmen
Being Ana
Surprisingly Ana never likes to be 'Ana' on stage, "I try to escape or try to avoid being Ana. I really need to go into the character's situation rather than showing myself because then I show myself how personally I see Juliet should be done rather than trying to put myself into Juliet's situation – because I will never answer Romeo in that way because I'm not Juliet – she answers to Romeo in a way because she is that way. The positive of being oneself on stage is as a dancer, or actor, that you step onto a stage you're completely naked and you can never involve yourself but at the same time you can go into the role, you have to go in in the person's situation. That's what I would call the interpretation."
When Ana speaks about preparing for a role, she does so with passion, with a sense humbleness and respect for the history and responsibility she has to the role, "It is without any pretension to go into the depth of our feelings, our problems or our happiness, and that's what I would say is more important rather than pretending to be someone.
"We have to be humble and explore. When we dance we learn – every time we go into the studio and confront yourself with the choreographer, you have to expose yourself. Also, the choreographer usually does that. You put yourself up for the first time, like it's the first day in school, like if you don't know anything. You have to be open to give but also open to receive."
Dancing with Nureyev
Ana famously danced Juliet with Rudolf Nureyev, who's home for the last 25 years of his life is a small island called Li Galli just in front of Positano. I cannot help but ask Ana about her experience of dancing with Nureyev, "we had a great time I must say. I danced Juliet with him – he came from another company and some people used to say that he was very unpleasant, so we were warned about that. But he was not unpleasant at all. On the stage he was wonderful too, so I did not see any unpleasant side. Of course I could see the complexities but that goes together with the complete artist. That's the complexity of the person. We are full of so many different sides, so to deny one side or the other is not fair. But he was wonderful with us. He was wonderful with me. We had a great time on stage and I enjoyed it very much. I hope he did too. It seemed like it when we talked about it when we were on the stage, so I have good memories. And also outside the stage we talked about very deep things and worrying things. My memories with him are wonderful."
Dance experience
As a dancer, choreographic assistant and through her vast dance projects Ana has worked with a wide range of dancers from various companies and countries such as Nederlands Dans Theater and Spanish National Dance Company, an experience that she finds enriching and positive, "there are only positive things about that, even if it's a controversial situation sometimes, you only get richer by experiences."
Ana's experiences include theatre and TV appearances and I asked Ana to explain the difference between performing on stage with an audience and performing for TV, "usually what we perform on TV has been performed on stage already. So you have a base, a relation to the piece and the situation of the person you play or the person you dance – but it is a little different if it is made directly for television at that moment.
"I have performed many times for TV and I would say it's much more difficult because you have only that chance. You don't have two or three chances like you have on stage. On stage you also have only that chance, of course, but you have another and another [the next nights]. Also on TV you have no response from an audience."
Ana explains that the reaction of the audience is important, that their feelings are challenged or changed and it is also good "if one gets very upset also, not only to be entertained by being happy. And if they don't like it, 'why didn't you like it?' Maybe there is question for oneself and then you start to think about it and you rediscover things and feelings."
Creating new works
Ana is a dancer, artist, choreographer, creator, and she is not one to hang up her ballet shoes. Ana and Mats continue to work together, pushing boundaries and challenging themselves and their art-form. Currently, they are preparing to perform at London's Sadler's Wells theatre for the Elixir Festival, "we are working at this age but I think that if there's a possibility for a dancer who comes to a certain age to continue, I think they should continue. It's good to be able to do that as long as the person wants to continue, as long as the person can continue. It's not always the case either. It depends also on the limitations of your own body – I would say dance as long as you accept in a certain age those limitations. But if one uses, in a way, or if one accepts that limitation, I think that limitation opens up new possibilities which are very different than the new possibilities for young people, but they're just different and why not? It's like life. It's part of life."
Mats Ek's Romeo and Juliet
Ana's advice
The dance world is fortunate that Ana continues to give, to share her experience and to pass on and to create new works, "in a different way, of course, than the young people can and that's what is good because it gives that diversity of a human being, what we all have in different places of our life.
"Sometimes I work with young people. I say, 'Oh, wow, you can do anything', it's nice to try to take them where maybe didn't go yourself or you see they can go even further. I would not say physically only, but also emotionally, combining their feelings with their technique.
Ana's insightfulness into the world of dance is captivating and her wise words should be headed, "As Pina Bausch said – dance, dance, otherwise we are lost – I think dance is really important and should be taken care of by society – it is also good for the soul."
And what advice does the legendary Ana Laguna have for today's aspiring dancers, "if you feel it, you should dance. If they really believe that's the way they want to express themselves, go ahead. Sometimes I think people often see dancers for how hard they work and how difficult it is and how much you have to sacrifice, but very seldom do they talk about the satisfaction that dance gives you. And there's so much satisfaction they can give too. I think one should also think about the possibilities. And psychologically it's a great thing to dance.
Ana continues, "when you work with a role for example, when you go into those people, their feelings and their situations, relations, and mentally, psychologically you work hard and you involve yourself which is healthy."
And finally, Ana imparts another pearl of wisdom, and I paraphrase here because I cannot translate perfectly her Spanish intention when she says, "It's not easy. Some people don't dare to go there with a role because it is painful, but it is necessary. It all starts with a feeling. What is felt is made, it is the feeling of the one who makes it, dancing it, an idea, because of one's soul and of one's feeling. If there's no feeling when you dance, you're just an instrument which is uninteresting, no matter which age you are."
Coming to London
Mats Ek and Ana Laguna continue their legacy, challenging and inspiring today's audience with their upcoming piece at Sadler's Wells, KnowBody; A lifetime of experiences (12-15 September) which presents a mixed programme of work that will enthral audiences.
Ana Laguna and Mats Ek (c) Stephanie Berge
I'm left in deep thought from my discussion with Ana and no doubt the audience will be moved by their upcoming work at Sadler's Wells. I will cherish my time speaking with Ana Laguna, I feel I have been privileged to gain a small glimpse into a deeply thoughtful, intelligent and inspiring mind of a legendary dancer.
For more information about Ana Laguna and Mats Ek's production, click here: Sadler's Wells.
Ana is Spanish and lives in Sweden and the interview was conducted in English, so I hope that I have done justice to her inspiring words and conveyed their meaning appropriately.
For more information about the 42nd Positano Leonide Massine dance prize, click here.
Tags: 42nd Positano Leonide Massine dancing Premia, Ana Laguna, Carla Fracci, Carmen, Cullberg Ballet, Elixir Festival, Giselle, KnowBody; A lifetime of experiences, Li Galli, Mats Ek, Mikhail Baryshnikov, Nederlands Dans Theater, Positano, Romeo and Juliet, Rudolf Nureyev, Sadler's Wells, Shakespeare, Spanish National Dance Company
Dancer of the Year Awards : Gala Performance - Olga Smirnova, Oksana Skorik, Steven McRae, Xander Parish
Premiere of Windows in Progress - Protein Dance
Savannah Saunders September 9, 2014


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Jörg Hacker obtained his PhD in biology from the University of Halle (Saale) in 1979. He went on to become Associated Professor for Microbiology at the University of Würzburg, where he became Full Professor and Director of the Institute for Molecular Infection Biology in 1993. His research focuses on the molecular analysis of infectious bacteria and of host-pathogen interactions.Hacker was a visiting researcher at the Institute Pasteur in 2000 and 2005, and was a guest professor at Tel Aviv University in 2006. In 2003-2009 Hacker was Vice President of the German Research Foundation (DFG), and in 2008-2010 President of the Robert Koch Institute in Berlin. He is Honorary Senator of the University of Würzburg since 2009 and Honorary Professor at the University of Greifswald since 2010. Since March 2010 he is the President of the German National Academy of Sciences Leopoldina.
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I am so pleased to be featured this month on Borrowed and Blue. We blogged about our wedding with Kim and Michael from April and it's gotten quite a lot of attention from numerous national blogs. I hope you enjoy the write up!
Be sure to check out this gorgeous wedding at the Westin in Columbus OH.
Robb McCormick Photography is a small team of professional photographers based out of Columbus, Ohio. Specializing in wedding photography, Columbus Event Photography, Senior Portraits, Advertising and Commercial Photography. Experienced and professional, we are proud to be amongst the best photographers in Ohio. Serving - Worldwide.


File system attributes are half of your system security. The other half is your kernel which cooperates so well and dutifully with file system attributes. On a secure system all file operations have to pass from the user through an application, down to the file system APIs, through to the kernel, and from there to the file system drivers.
No one is allowed to disrupt the chain of command.
Taking a peek at your file system with the Finder isn't going to tell you squat. The Finder today is little more than a fancy image browser. It 'finds' files alright (at least in some of the cases) but it doesn't really do much with them.
Comparing what the Finder does with what can and should be done is pointless - the Finder doesn't do much at all. The better place to start is with simply showing what's available and what should be at your beck and call.
Unix files have something called a mode. This 'mode' includes file permissions but file permissions don't include the mode. Unix file permissions are divided into three groups for the file owner, for the group owner, and for everyone else. Each group can have up to three attributes for reading, writing and executing.
File permissions are commonly expressed either as an octal number or as a sequence of alphabetic characters. The following two illustrations shed a bit of light on what's going on.
The first image is what Xattrib shows you. It spells out the attributes a bit more than often seen.
File Type The 'real file type' according to Unix. This isn't something you can alter. Dock.app's executable is a 'regular file' - an 'ordinary file'.
'Extra Bits' These are the sticky bits and the set ID bits. There are three: Sticky Bit, Set GID, and Set UID. More on them later.
Access Read, Write, Execute bits divided up for User, Group, and Other.
User Flags Extended flags that override ordinary file permissions.
System Flags Extended flags that override all other file permissions.
The second image is what the ACP Framework shows you in applications such as Xfile, Xscan, Xfind, Tracker, and others. It spells out more than the attributes.
Device The ID of the physical device the file resides on.
Device Type This will be '0' unless the target is a 'device file' in /dev.
Inode The volume control block index for the file's information.
Mode The file's mode displayed in octal. Note this includes more than ordinary permissions.
Blocks Implies the full storage requirements of the file. A 'block' is normally 512 bytes.
Links The number of (hard) links to a file. A physical Unix file can be referenced by any number of file system paths.
Optimal Block Size This is the optimal size for I/O. Normally 4 KB (4096 bytes). This becomes the basic I/O unit used by the file system drivers.
Owner Self-explanatory. This is the 'user' - the account that created the file. Only the root account can change the ownership of a file.
System/User Flags These are the extended flags (displayed in hexadecimal) that override (veto) ordinary file permissions.
Group The group the file belongs to. The file's owner can in some circumstances change this field.
File Generation # Only visible to the root account. Not found universally on Unix. Beyond the scope of this article.
The mode is shown in octal in the second image; at the command line this is often shown in a string format.
The '-rwxr-xr-x' corresponds to the '0755' from the second image above and to the 'Access' section of the first image. All the remaining fields correspond to further data seen in both the above images.
- This extra character on the far left denotes the file type. Regular files get a hyphen; directories get a 'd'; and so forth.
rwx Denotes the rights for 'user' - the file's owner. Dock.app's executable can be read, written to, or executed by its owner.
r-x Denotes the rights for the file's group. Dock.app's executable can be read and executed (but not written to) by members of the group 'wheel'.
r-x Denotes the rights for 'other' - everyone else. Dock.app's executable can be read and executed (but not written to) by anyone.
1 The number of links to this file. There is but one - meaning there is no other path that refers to the same physical file.
wheel The group the file belongs to.
- A placeholder for extended flags. The hyphen means there aren't any.
2384736 The size of the file in bytes.
Sep 25 2008 The 'last modified' time of the file.
Dock The name of the file.
'Octal' is but one way of expressing bit values but it's the one traditionally used for Unix file modes and it's the most convenient as well. Unix file modes - including 'permissions' - are expressed as six octal digits.
Dock's full file mode field is '100755'.
10 These leftmost two digits denote the file type. The file type of Dock is '10' - 'regular file'.
0 This single digit holds the sticky bit and the set ID bits. Dock has none.
755 The actual file permissions.
Octal file permissions are easy to read (and ultimately easier to work with) in octal - they're bit-wise.
The '7' in Dock's permissions means the owner can read (4) write (2) and execute(1). But group and other don't have that '2' - they can't write to the file.
Following are the values for Unix file types. Dock's file type field is '10' - and yes it's very much a 'regular file'.
01 FIFO or named pipe.
Extended attributes - XAs - are new to Mac OS X starting with version 10.4 Tiger. They supersede and add to the old 'Finder file and folder info' and 'resource fork' cruft left from the 'beige box days'. They have an open 'Unix' style API and potentially free Mac OS X from its limitations in communicating with other platforms.
Theoretically anything can be stored with a file as an extended attribute but two attribute names are reserved and require conformance with other standards.
com.apple.FinderInfo Used to store the classic file and folder info. This data must be exactly 32 bytes in size.
com.apple.ResourceFork Used to store the classic resource fork info. This data must conform to resource fork constraints.
All other extended attributes are arbitrary and can be named and can store data on an arbitrary basis. The ACP applications Clipothèque and Xbase are two Rixstep applications which use this technology extensively. Following is what shows up in the ACP application Xattr when a Clipothèque file is dropped on its Dock icon.
There is one extended attribute stored with this Clipothèque file; its name is 'com.rixstep.Clipotheque' which follows the recommended name standard; and Xattr can export it so other applications can inspect its contents.
This XA happens to be a property list in binary format (very appropriate) and so can be opened by PlistEdit as plain text.
So that's it - the XA contains (file-specific) window frame coordinates, column sorting information, and column widths. All Clipothèque (and Xbase) windows come back exactly as you left them. These extended attributes can be used for anything anyone wants. Several applications can store their own attributes with any one given file - there might be a particular way a text editor or a property list editor wants to remember a file's 'spatiality'. There are no limits; there is no sky.


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Q: Is either of 'at the same time as you create ...' / 'at the same time that you create ...' unacceptable? The following sentence doesn't sound right to me, but I'm not sure whether it's actually wrong:

If neither approval nor a purchase order is required, you can quickly
  create invoices at the same time AS you create records for the
  vendors.

It seems to me it should say:

...you can quickly create invoices at the same time THAT you create
  records for the vendors.

A: They're both fine.  Both the Ngram Viewer and a general web search show that both uses are popular, with "same time as" having a slight edge.  The "as" construct requires some interpolation:  "at the same time as [the time]," but that's no hill for a climber.

A: In the OP, two predicates, create invoices and create records, are connected in time by the phrase at the same time:

1 Simultaneously; at once.
ODO

The conjunction as supports the connection in the first example:

*

*... you can quickly create invoices at the same time AS you create records for the
  vendors.

The conjunction that supports the connection in the second example:

*... you can quickly create invoices at the same time THAT you create
  records for the vendors.

Neither conjunction is necessary for the construction to make sense, because the phrase at the same time functions as a conjunction:

*... you can quickly create invoices at the same time you create
  records for the vendors.

Testing the claim that at the same time functions as a conjunction, we simply replace it with the conjunction as for a fourth construction with equivalent meaning:

*... you can quickly create invoices as you create records for the vendors.

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TeenHelp Mind and Body Self Harm Triggering: Do you know what your triggers are and what helped you figure it out?
When talking to people about self harm I talk a lot about them figuring out what their triggers are. I do spend a little bit of time giving them ideas on how to go about figuring out their triggers but, as with everything, each person figures things out in different ways.
So, I am making this thread to see what others triggers might be, in regards to self harm, and what helped them figure it out.
I will label this as triggering just to be safe and if you don't feel comfortable explaining all your triggers you don't.
Anger- I wasn't sure how to express it and there were times when I would get so angry I wanted to hurt something and, of course, I would hurt myself because hurting other people isn't something I like doing.
Anxiety-When I get anxious I get overwhelmed and I get a sick feeling in my stomach. I feel on edge and self harm used to 'ground' me and make it better. This is one of the triggers I struggle with a lot because when I get anxious my first thought is 'I can make it better if I cut...' I can talk myself out of it but it gets hard.
Boredom - This one might seem weird but in the past I would get bored and I would cut to make myself feel something because for me 'boredom' leads to an extreme lack of emotional numbness.
Feeling like I hurt someone/guilt: If I feel like I hurt someone I feel guilty and guilt and hurting people can be hard to deal with.
I would go ages where I would feel like I was triggered for no 'reason' (that does happen to me sometimes but not as often) and I knew that there had to be a trigger so I would take some time and work through the days/weeks. I would write down events I remembered, I would look through old journal entries and be reminded of events.
-Got into a fight with my dad, feeling angry and sad, want to cut.
By doing this for an extended period of time I was able to identify common things that led to me feeling an urge to cut and it helped.
I am not sure that too many others will feel like sharing but I figured it might be worth trying as there can be a number of different ways to identify a trigger. Due to that different things will work for different people being made aware of the different things to try to identify the triggers might help some people.
A lot of my issues were fear of failure or not being good enough. I did start to identify things more by keeping a journal which was suggested by my guidance counselor in 8th grade.
Mine are anger, anxiety and numbness/dissociation like you mentioned. Other triggers include certain foods, smells, or people especially. I am triggered by the smell of alcohol on someone, for instance. I am also upset by and kind of yelling or arguing. I have OCD so occasionally I obsess about self-harm as well. I probably have other triggers I am leaving out but I found them out by getting upset and keeping note of it and then working on it.
My biggest trigger are probably lose of control and feeling vulnerable/exposed. Then comes stress and failure and probably being confronted with SH (especially in storys).
I actually found out most of them when I forced myself to stop selfharming. I couldn't cope anymore and started having random breakdowns and crying spells. Which made me realiced the pattern. Before I didn't see the pattern because SH had kind of become a habit so I would do it even if I wasn't triggered.
My therapist also helped a lot by making me retell the situations I felt bad in which helped me notice these patterns.
i know this thread is about self-harm but i'm going to talk about my general triggers right now, not just for self-harm since that isn't a big problem for me anymore.
what definitely helps me nowadays to identify triggers (for example for my substance abuse) is keeping a journal of when i used and how i felt before using. this was suggested by the substance abuse program counsellor i go to and it's definitely something i want to recommend others to do (that's why i'm writing this) because it can be really helpful.
what triggered my self harm urges in the past was usually feelings of guilt or when i felt like things were all my fault. so you could say i did it to punish myself, mostly but it also became a routine and a habit after a while that felt safe and that made me feel in control so i did it even if i wasn't triggered. it was something i felt safe to do without feeling self-concious or insecure.


text:
Volkswagen offers €6.7bn to snap up Scania
AFP - [email protected] • 22 Feb, 2014 Updated Sat 22 Feb 2014 08:46 CEST
Europe's biggest carmaker, Germany's Volkswagen, said Friday it was making a 6.7-billion-euro ($9.19 billion) offer to grab the nearly 40 percent of Swedish truck manufacturer Scania it does not already own.
Volkswagen currently has nearly 90 percent of voting shares in Scania, and owns 62.6 percent of the company.
It is telling shareholders of the outstanding stock it is willing to pay them 200 Swedish kronor (22.24 euros, $36.84) per share, a premium of more than 50 percent that values the total offer at 6.7 billion euros. The buy is conditioned on Volkswagen ending up with at least 90 percent of Scania. If that happens, the German group will withdraw the listed Swedish firm from the Stockholm stock exchange.
Volkswagen already owns German truck- and bus-maker MAN. It bought into Scania in 2000. Taking full control of the Swedish company, it reckons it will make annual savings of 650 million euros through synergies.
The German group used the Scania announcement also to reveal its 2013 results, which were not expected for another three weeks. Volkswagen's net profit last year sank 58 percent to 9.1 billion euros -- a forecast dip brought on from its integration of Porsche into the group in 2012.
Revenues rose slightly, by 2.2 percent, to 197 billion euros, as did its operating profit, up 1.5 percent to 11.7 billion euros.
#Industry & Trade #scania #volkswagen #vw
AFP 2014/02/22 08:46


It's significantly larger than the 'new' QL series like the GIII QL17 and has a bit more heft to it. In fact it's as wide as the K1000, though it doesn't have the SLR feel that the slightly smaller and lighter Yashica Electro does – the difference I think being the prominence of the lens (the 1.7 Yashinon is pretty big glass). The other difference is that like the later Auto S2 and Hi-Matic 7s this camera works in manual or automatic mode, meaning that you can use it without a battery if you don't need the meter, as long as the shutter blades aren't stuck!
I have two of these now, both of them in fabulous cosmetic condition, with nice leather cases and the usual issues: gummy light seals, and a very slight amount of corrosion in the battery compartment. However both have sthe dreaded Canonet stuck shutter blade problem and are in the process of being fixed, slowly, slowly.
On one, the inside of the battery cap has a hole in it. I don't know if that means something is missing (a spring?) but a 640KA battery (replaces PX640) is too short even though it looks like the one in the little diagram. I got a spring at the hardware store to make up the difference, and the meter needle jumps but no shutter movement even on auto (no EE). I was convinced at the time that this Copal was battery-driven (it's not) and that I was faced with an electrical problem (it wasn't), so I took the thing apart. PS I saw somewhere that the actual battery on this one was a RM-1R or RM1.
Taking off the top cap was easy enough. That I figured it out without instructions is testament to how much I've learned so far: three little screws around the perimiter, then the rewind knob unscrews the usual way (stick a screwdriver or similar bar into the slots of the film catch, then firmly turn the rewind knob counterclockwise). The wind lever is held on by a smooth retaining ring that unscrews counterclockwise, just needed a firm grip. Once the top cap was off I could see clearly what had been rattling around, a mirror from the rangefinder mechanism to which the glue had given up. A little Windex and some very carefully applied contact cement fixed that. Cleaned up the rest of the rangefinder mirrors and glass with Windex and Q-tips and now that rangefinder is super-bright and clear. Still no shutter movement, so on to the bottom cap.
A couple screws and a retaining ring to get the cap off, then three screws to remove the battery chamber. The good news is that there was enough slack in the wire to see the problem – unlike on my Electro – but it had the same corroded wire leading from the battery chamber, damage from a battery left too long. I'm going to suspect that problem now every time I get a camera that doesn't respond to a new battery. This wire will need replacing. Extending the wire with a new piece didn't help, and now I see that the aperture blades don't move when I move the setting ring. There is clearly more wrong than I first thought.
After all that it turns out that the problem was really the dreaded Canonet sticky blade issue, the shutter blades all stick together eventually and so do the aperture blades, I don't know if it's from old lubricant or the glue holding the last element in place, but it's super-common with Canonets. The shutter seems to work on an indirect release mechanism that is highly sensitive to any friction on the blades. A repeated application of Rosonol lighter fluid or 97% alcohol combined with working the shutter and aperture fixes it eventually. (I worked the blades wet on and off over a couple of weeks when I was watching TV, that kind of thing.) Getting to the blades is another story — I was forced to come in through the front of the lens and work the blades on the 'B' setting, something I don't like to do, especially since dismantling the lens means risking damaging the glass elements.
The good news is that replacing the light seals on this camera was perhaps the most straightforward so far; the grooves were fairly shallow like on an SLR (like I said, it feels like an SLR body), and the seals on the door itself are already made of black felt. So it was merely a couple of strips of mouse pad and many Q-tips and toothpicks and of course my trusty dental picks (scraping is what they're best at!). Easy stuff.
Here's a good one – the film rewind knob does lift up all the way, but only to allow you to put the film cassette in comfortably. To open the back of the camera you instead pull out a little tab on the bottom left (from the back), not the film rewind knob.
Focusing on this camera is done with a lever attached to the focus ring on the left hand side, very quick and efficient. If it's set to auto you don't need to move your hands out of position at all. Note also the early CdS meter placement – not TTL but certainly Through The Filter, like the other rangefinders in this class. Obviously this is practical only with a fixed lens.
The Quick-Load (QL) system is true to its name, just pull the film leader across, and as you close the back a flap springs down to hold it in place and you can just start winding on. Very nice. I'd rave about it more but I get the same results with my P30t film loading without the goofy flap. But it's always nice to know immediately that your film is threading properly.


text:
Q: Setting a correct statement for various calculations from an array I have an array
 a = np.array([1.5, 0.55, 3.0, 0.24])

I want to create a statement that would create a new array such that a[i] > 1 then b = 1.0*a and that everything is has b = 2.0*a. I am not sure if this would be better for an if or a while statement. I am just trying to get my b array to be this:
b = [1.5, 1.10, 3.0, 0.48])

A: How about:
b = a + (a <= 1) * a

Or you could use numpy.where:
b = numpy.where(a > 1, a, 2 * a)

A: Try:
a = np.array([1.5, 0.55, 3.0, 0.24])
a[ a <= 1] *= 2
print a


text:
Rosary, Just in Time
By Terry Peloquin (Sep 6, 2018)
James was a veteran of the Vietnam War era, an army ranger, a tough-as-nails, two-fisted type of drinker, and a guy that cussed on a regular basis. At least, according to his coworker William Labenz of Bozeman, Montana.
"But we got along with him," William said.
One Sunday, William was following his usual routine of walking to Mass, saying the Rosary, and then heading home to pray the Chaplet of Divine Mercy at 3 o'clock.
This one Sunday, something interrupted his routine.
"I'm walking home and — I can't describe it. It's like somebody or something is telling me I have to do something. It was telling me go home and grab a Rosary, and go grab a pamphlet — which is a Marian pamphlet called 'How to Pray the Rosary' — and bring them to James."
James recently had a minor surgery to correct a foot problem and was expected to make a quick recovery. So the feeling puzzled William.
He went home and picked up the items. Knowing that James was a hunter and a fisherman, he also took along a duck carving he had made.
William says he wasn't keen on visiting a medical facility, since it reminded him of his father's recent passing. "But this inner thing kept telling me 'Go, go, go.' There was no voice, no lightening bolt. I couldn't shake it; I had to do it."
Once William saw James, he asked how he was doing. "He said he's feeling good, he hates the food, and he wants to get out."
William told his friend, "James, I can't tell you why I'm doing this, I have no idea. I don't know if you'll be offended but ..." He handed James the Rosary. "James, this is from a friend to a friend. This is my Rosary that I'm giving to you, and this pamphlet on how to say the Rosary. And, from a friend to a friend, would you accept this?'"
James replied, "I sure will." And, holding the Rosary he said, "I will cherish this no matter what."
Then William offered him the duck, but James asked him to set it aside for him to look at later. "I had thought that's what he would've looked at!"
James told William he would see him at work Monday. As William was leaving, James was looking at the pamphlet and still holding the Rosary.
"I felt calm again," William said. "I went home and went about my normal Sunday."
The next day seemed like a normal work day until just before morning break. The entire plant was called together. A tearful manager announced: James had passed away last night at the rehabilitation center.
"To me," said William, "it's amazing what happened."
"How to Pray the Rosary" (product code TH-PR2) is the Marians' most popular pamphlet. It is available at ShopMercy.org or by calling 1-800-462-7426.


text:
25-1082 Library Science Teachers, Postsecondary
Teach courses in library science. Includes both teachers primarily engaged in teaching and those who do a combination of teaching and research.
5,010 4.3 % (4) $73,680 1.1 %
Annual Wage (2) $43,470 $56,050 $70,940 $89,260 $107,840
Colleges, Universities, and Professional Schools 4,260 0.14 (4) $72,840
Junior Colleges 740 0.10 (4) $78,640
Illinois 580 0.10 2.81 (4) $78,830
New York 540 0.06 1.68 (4) $81,430
Pennsylvania 350 0.06 1.74 (4) $72,480
Ohio 350 0.07 1.87 (4) $68,420
Texas 330 0.03 0.79 (4) $65,880
Rhode Island 60 0.12 3.52 (4) $88,150
Montana 30 0.07 2.13 (4) $64,060
Alabama 140 0.07 2.12 (4) $73,510
Washington 100 0.03 0.86 (4) $96,750
Michigan 150 0.04 1.01 (4) $88,820
Florida 60 0.01 0.22 (4) $84,660
California 250 0.01 0.42 (4) $82,110
New York-Jersey City-White Plains, NY-NJ Metropolitan Division 480 0.07 2.05 (4) $80,710
Chicago-Naperville-Arlington Heights, IL Metropolitan Division 240 0.07 1.89 (4) $68,800
Cleveland-Elyria, OH 130 0.13 3.67 (4) $68,660
Dallas-Plano-Irving, TX Metropolitan Division 120 0.05 1.42 (4) $62,490
Boston-Cambridge-Newton, MA NECTA Division 110 0.06 1.78 (8) (8)
Seattle-Bellevue-Everett, WA Metropolitan Division 80 0.05 1.43 (4) $98,560
Philadelphia, PA Metropolitan Division 80 0.08 2.37 (4) $73,400
Pittsburgh, PA 70 0.07 1.88 (4) $71,900
Nassau County-Suffolk County, NY Metropolitan Division 60 0.05 1.33 (4) $87,180
Providence-Warwick, RI-MA 60 0.10 2.95 (4) $88,150
Knoxville, TN 60 0.15 4.16 (4) $71,500
Albany-Schenectady-Troy, NY 50 0.10 2.93 (4) $62,240
Buffalo-Cheektowaga-Niagara Falls, NY 40 0.07 2.04 (4) $77,200
Minneapolis-St. Paul-Bloomington, MN-WI (8) (8) (8) (4) $76,180
Nashville-Davidson--Murfreesboro--Franklin, TN 50 0.06 1.62 (4) $69,350
Northeast Mississippi nonmetropolitan area 50 0.20 5.75 (4) $61,480


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PTCL 50 & 100mb Mb VDSL Result | Syed Jahanzaib Personal Blog to Share Knowledge !
Wow!!thats great . but i want to ask that does it break sync several times or it stays stable after onceit is connected?
Its working fine so far. once it synchronize , it works good.
Actually it mainly depends on your telephone exchange infrastructure, distance from exchange, telephone DB , wire conditions etc.
bhai is pa uploading speed kitni ati hai?
bhai 1 bat pochni thi is bonding technology pa koi streaming ya browsing issue to nai hai na?
Brother can You give me pdf manual for Huawei HG622u or which ever modem is being used. And how they are handling 2 pairs of copper wires?
You can get the Huawei manual from there website as PTCL is not providing any manual. To set it up, you can use there Help line, usually it is pre configured by PTCL.
At some places, single copper wire is used , at backend they are using OLIO fiber module.
this is actually megabits ……. the speed in megabytes would probably be 6 megabytes per second if you get 48megabit per second …..right?
if it was MegaByte, then MB sign is used.
When we talk about internet bandwidth, MegaBit is always used.
user sees it on there screen when they download any thing from internet.
Can you share speedtest.net results here?
and also traceroute to google.com for checking latency?
speedtest.net is not a reliable source for testing, therefore I recommend you not to trust on these speed test website.
Tracert result have been uploaded to this blog. See them.
Remember, Don't assume that after getting 50Mb, you or your users will become SUPERMAN or SPIDERMAN 🙂 , latency and other things will remain same, only the capacity of loading passenger in your VAN will increase, I hope you will understand.
its still working fine or you facing any problem now.
your last paragraph means i need a download accelerator for getting full speed right ? on single connection it will restrict me on some speed ? did you try DMZ on it is it working fine ? and is there 50GB download limit on it ?
There is no download limit/quota on 50Mb Package.
DMZ is used to protect any server by putting it behind any firewall/gateway to protect it from direct access. How it is related with 50mb dsl ?
ayed bahi kiya hum ye 50mb ka connection hum apni isp k liye use kar sakte hen….?
its good for small isp/cable.network.
mera khene ka matlab he k hamare pas agar license he or ye ptcl ka 50mb ka conn use karon to ye legal hi ho ga…..
bhai ptcl walay pata nahe kaha de rahay hain 50mb samajh nhe arha hai. gulistan–e-jauhar block 16 mai 1 months se kal kal ker rahay thay finally inho ne mana kerdia k yaha sirf 4mb de sakte hain.
You have a nice blog with lots of unique information 🙂 Your post about the Huawei HG622 is especially interesting.
The HG622, supplied by PTCL, is a very nice device. Much nicer than the VDSL2 modem supplied by British Telecom here in England.
There is interest in unlocking the HG622 and for building custom firmware for it, for better performance and line diagnostics, etc.
sir i want to know about strength of single modem or line which provide 50mb speed.
can 50mb vdsl modem handles 300 users on just single modem ?
can single cable line handles the 1000`s of connection request from 300 users ?
I also deployed 50mbps 2 month ago, but in saddar area not getting more than 35mbps… Well thing to change the package….
sir help me vdsl modem sellpipe 7130 (new modem chote wala non-binding) bhoot tang ker raha hai 15 se 20 mint net chalta hai us ke bad LAN port per internet nahi chalta Wifi per chal raha hota hai please HELP me….
Its the fault of modem bro. replace it.
or use other workarounds like try to use modem in bridge mode, and do the wan dialing from the mikrotik itself.
If above still dont work , then at mikrotik use wifi to connect with the dsl modem, this way you will bypass lan of modem, and it will continue to work with the wifi as its wan gateway.
Dear sir mje ye 50mb ka connection mill jaye ga???????


text:
Magic Wrapped up in Pixie Dust
After finishing up taking photos at the Grand Floridian I hopped on the monorail to the Magic Kingdom, I wanted to try to take a few photos of monorails at the Magic Kingdom platform but when we got there as I got off the monorail I could hear the opening ceremony and so after snapping these few photos, below (the first one was just a little too late to catch monorail red pulling out).
As I headed down the ramp I saw the cruiser Bon Voyage or "Bonnie" pulling in so I got a few nice "morning light" shots of her.
Even though there were folks crowded in at the turnstiles and in front of the train station the few moments I had lagged behind taking pictures seemed to have been enough to process all the folks from our monorail through security so I got through there with no wait, and in fact only had a very short line at the turnstiles getting into the park before the opening ceremony actually had been completed. I listened to a lot of podcasts so hearing this opening ceremony could not help but remind me of the Character Breakfast podcast, as this music is used at the opening of their shows, additionally I thought that the voice of the Mayor of Main Street (who also participated in the ceremony) sounded a lot like Tony from the Above The Firehouse podcast, and I mentioned both of these things as I recorded, later I thought back and I think perhaps I remember hearing similar reactions to this show on someone else's podcast, but I don't remember which show right at this moment.
Above: It's a dirty job but somebody has to do it (cleaning up streamers launched during the ceremony).
I stopped at the train station and asked when the first train would be pulling in, the cast member there said it would be about 15 after so I decided to walk to my first attraction of the day, there were no live performances scheduled quite this early so it only made sense to hit one of my favorites. As I headed up Main Street many cast members were lined up along the sidewalk waving their "Mickey gloved" hands when I got to the former location of West Center Street however, the cast member there (Gail) had a slightly different type of glove on (below). I also heard the train pulling into the station behind me oh well it was probably only five after but I decided to continue on foot.
Above and Below: I think this view of the Crystal palace is a bit reminiscent of a postcard view of the restaurant (at least that is what I was aiming for).
As I was listening to the Main Street music and walking along towards the Adventureland entrance I heard a little boy ask his father "where is the music coming from" So I looked myself and as I was in their view I pointed and said "there it is" and then I took this picture (below).


text:
@brucetalbot1
Squad will be utilised says JG
As he prepared his side for Tuesday's trip to Swindon at the Oakwood training ground today, manager John Gregory insisted that his entire first-team squad would need to be 'ready to play' during the punishing schedule between now and the end of the season.
Tuesday's re-arranged visit to the County Ground is the first of 20 games in 69 days between now and May 3 with all available Tuesday night slots booked up.
The boss made just one change for the 2-1 win at Walsall on Saturday when Gary Dicker came in for his full debut in place of Nicky Adams, who joined Rotherham during our four-week enforced break when we didn't have a game.
Recent signings Ross Atkins, Rory Fallon, Paul Connolly, Hiram Boateng and Sullay Kaikai were all on the bench while Sergio Torres and Connor Essam were left out of the matchday squad.
John said: "We know what is ahead of us. That's why we will need every player in the squad to be prepared and ready to play.
"I have told them all that they will get opportunities at some stage. Everyone is very much part of the group. We have a big job to do and that's why we need everyone switched on."
The Gaffer took the squad to the Midlands last Thursday to prepare for the game at Walsall, where two goals from Matt Tubbs sealed a 2-1 win for Reds.
"We just needed everyone to be together and have the same mentality because we have a lot of games coming up and I needed them to be focussed," added John. "They were, to be fair, as we saw on Saturday. Now we need exactly the same attitude for the next 20 games. We have ticked one off and move onto the next one at Swindon on Tuesday."
Reds will have to make one enforced change with Billy Clarke starting a two-match suspension.


This requires Nissa, Vastwood Seer. A good late game deck is required, as Nissa only transforms when you control at least seven lands. When ready, a good defense is required to keep Nissa, Sage Animist on the board at least four turns. Use her first ability to gain loyalty. When you reach at least 7, use Nissa's ultimate ability to untap six lands, and they will become 6/6. Note: There is no expiration rule; if Nissa is put in the graveyard at this point, you will retain your 6/6 land-creature. Attack to do 6x6 damage to your enemy.
This requires Jace, Vryn's Prodigy. After getting at least five cards in your graveyard, Jace will transform to Jace, Telepath Unbound, which has 5 loyalty. However, you need at least 6. Keep Jace on the board and have at least two sorcery or instant in your graveyard. When possible, use his second ability [-3]: "You may cast target instant or sorcery card from your graveyard this turn." If that card would be placed into your graveyard that turn, exile it instead. Do this twice to get the "Truth Seeker" achievement.
Accelerated Production: Cast a creature spell with converted mana cost 7 or greater by your fourth turn.
Acolyte of the Inferno: In Chandra's Campaign, deal 10 damage to your opponent with instants or sorceries in a single duel.
Act of Treason: Deal 10 damage to an opponent in a single duel using creatures he or she owns.
Air Superiority: In a single duel, have your flying creatures deal 15 damage and be dealt no damage yourself.
Airborne: Control four creatures with flying.
Apprentice: Hit rank 10 in ranked Versus Battles.
Auramancer: Attach four Auras to the same creature.
Collection Builder: Open 10 booster packs.
Delver of Secrets: Win a duel with five or fewer cards in your library.
Expert: Hit rank 30 in ranked Versus Battles.
Fire Starter: Deal 12 damage to an opponent with Chandra, Roaring Flame in a single duel.
Frenzied: Starting on your third turn, attack every turn until you win.
Hunting Party: Control six Elves.
Land Rush: Have two lands enter the battlefield in a single turn.
Legend: Hit rank 15 in ranked Versus Battles.
Master of the Hunt: Control 20 Elves.
Master: Hit rank 40 in ranked Versus Battles.
Millstone: Put two creature cards from your library into your graveyard in a single duel.
Mind Grind: In Jace's Campaign, win a duel by depleting your opponent's library.
Necromancer's Assistant: In Liliana's Campaign, return three creature cards from your graveyard to your hand in a single duel.
Necromastery: Return three creatures from graveyards to the battlefield in a single end step.
Novice: Hit rank 5 in ranked Versus Battles.
One In, One Out: Have a creature enter the battlefield and return a creature to your opponent's hand on the same turn.
Ordeal of Heliod: Complete Gideon's Campaign.
Power of Origins: Get a mythic rare card.
Questing Hero: Complete 100 Daily Quests.
Questing Knight: Complete 10 Daily Quests.
Questing Legend: Complete 500 Daily Quests.
Relic Seeker: Control five artifacts.
Sage Animist: In Nissa's Campaign, control a creature with total power and toughness 20 or greater.
Seasoned Fighter: Have Gideon, Battle-Forged deal 12 damage in a single duel.
Solo Battler: Win 10 Solo Battles.
Solo Scrapper: Win 100 Solo Battles.
Solo Slugger: Win 500 Solo Battles.
Steamrolled: Reduce your opponent's life total to 10 or less before your fifth turn.
Tactician: Win a duel with a custom deck.
Tested in Battle: Deal 10 damage or more to your opponent with renowned creatures in a single turn.
The Origins Five: Collect all five Origins Planeswalker cards.
The Roil: Deal 12 damage to an opponent with lands in a single turn.
Thopter Squadron: Tap or sacrifice five artifacts you control outside of combat in a single turn.
Totem Guide: Search your library for an enchantment card.
Treacherous Urge: Sacrifice a creature owned by an opponent.
Triple Treat: Put three tokens onto the battlefield in the same turn.
Truth Seeker: Cast two instants or sorceries from your graveyard in a single duel.
Ultimate Power of Origins: Collect all the mythic rare cards in Magic Duels: Origins.
Versus Battler: Win 10 Versus Battles.
Versus Scrapper: Win 100 Versus Battles.
Versus Slugger: Win 500 Versus Battles.
Veteran: A creature you control becomes renowned.


There I was gazing out the bedroom window when Mum came along and started taking photos of me with her iPhone. She got a bit close with this one, as you can see. But she also cropped it a bit to show off my eye.
Whoa! That is a cool selfie! Pretty eyes you have!
Oh, how pretty! What a beautiful profile and eye!
Pretty eyes and nose and whiskers and everything!
Great selfie, you have stunning eyes.
That is a beautiful close up selfie of your lovely eye.
Thiss iss purrfect side Selfie Athena!!!
Yur eye iss so cleer an shiney!
Wow, what a beautiful face. Great selfie.
That is a beautiful selfie!!!
That's a gorgeous close-up selfie.
What beautiful eyes you have, Athena.
Profiles are so elegant aren't they?


text:
import { TestBed, inject } from '@angular/core/testing';

import { LoggingHttpService } from './logging-http.service';

describe('LoggingHttpService', () => {
  beforeEach(() => {
    TestBed.configureTestingModule({
      providers: [LoggingHttpService]
    });
  });

  it('should ...', inject([LoggingHttpService], (service: LoggingHttpService) => {
    expect(service).toBeTruthy();
  }));
});

redpajama_set_name: RedPajamaGithub