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Blogging adventures about film and the people that live it and love it
Tag: Yasujiro Ozu
Quarantine 2020 Catch-Up — Rapid Fire Reviews #5 Yasujirō Ozu's Master Period
Posted on June 18, 2020 June 26, 2020 by spacecortez
This edition of the "Rapid Fire Reviews" will be slightly different this time around. Each film is written by longtime collaborators Kogo Noda and Ozu himself, and directed by Ozu. I've also removed the "recommendations" this time because I wholeheartedly give my recommendation to all of these films. Not everyone will enjoy or embrace these films, and I get that, but still, if I can convince even one person to look into these films and this director, I'd consider it a success. In the last edition of Rapid Fire Reviews I incorrectly noted that all six of these films were in color, but I was mistaken, the first two films, "Early Spring" and "Tokyo Twilight" are in black and white. Hopefully that won't discourage anyone from checking these films out!
This series of films mostly focus on the divide between parents and their children. In the 1950's Japan was experiencing a transformative evolution within their society and culture. After World War Two there was a slow drip of Western influence, consumerism was beginning to take hold, and young adults were starting to want to make their own decisions in life and love. Independence and choosing to stand up for your own happiness in life are gigantic themes within these six films. A lot of the drama rests on women rejecting the notion of arranged marriages, older men realizing they must adapt and change their notions of tradition and authority, and the complications of loneliness. Above all else these stories inhabit an incredibly mature recognition of emotional honesty and allowing people the time to change and evolve their worldview.
Below I've linked the three other Ozu film reviews I've already written here on this blog. "Tokyo Story" was the beginning of Ozu's late career revival, and what many would consider the "Master" period of his filmography that would culminate in his last film, "An Autumn Afternoon" which is a part of this edition of the "Rapid Fire Reviews". If you want the full picture of Ozu's evolution on the themes of generational conflict I highly suggest checking out the three films linked below as well, they're each an integral part of that process. I've also put a link to a video essay on youtube that expertly discusses Ozu's filmography in a nuanced and well thought out structure. If nothing else, this may help you to decide whether or not Ozu is for you.
*Also, there will be spoilers, and I won't be naming all of the actors and character names. Not out of a lack of respect, but because Ozu used so many of the same actors in widely different roles in his films with recurring themes and reused sets- it can get a bit confusing at times. However, since all of the films deal with some sort of familial drama I'll indicate characters by their role in the family. By all means, please research these actors if you watch these films and enjoy their performances. My favorite character actor that Ozu often utilizes, to perfection, is Chishu Ryu. His gentle humility and earnestness is pure cinema.
Early Spring (1956)
This is the longest film of the bunch running at about two hours and twenty minutes. It's also the film that has the least influence from the older generation out of this assortment. We follow a couple that's a few years into their marriage with some growing concerns. The focus of this film is split between Ozu's depiction of the disillusionment of white collar work and infidelity within marriage. Initially, we're only given hints of the husband's possible affair from multiple points of view. We get subtle suspicions from the wife, who's informed by her older neighbor of a past affair that her husband had engaged in and gives her advice to stamp that out, and quick. We also get a lot of gossip from the husband's coworkers who notice that he and a younger woman nicknamed "Goldfish" (due to her huge eyes) have been spending a lot of time together recently. After we're finally given evidence of the two actively engaging in said affair the focus shifts to the husband's friends and coworkers banding together to confront "Goldfish" about the affair. What stood out to me in this film was the encouraging sense of community, the warm visuals of friends sitting in large groups smoking, playing mah-jong, and singing together. It really balanced the darker elements of the story, especially when the source of the couple's emotional distance is revealed. There's also a few camera movements, which, for Ozu, felt revolutionary.
Tokyo Twilight (1957)
Tonally, "Tokyo Twilight" is the darkest Ozu film I've seen yet. While most of Ozu's films have an inherent sadness to them, the despondent nature of this film's sorrow comes from a place of tragedy rather than melancholy or loneliness. Set in the dead of winter, the focus of the story falls on the shoulders of the adult daughters of the family. One is married with a young child, and the younger distraught with her current boyfriend. The older sister has returned home on a break from her marriage and isn't particularly happy with her husband. While the younger sister searches mah-jong parlours for her boyfriend, she runs into the owner of one such establishment who seems to know some details about her family. This mysterious woman confounds the younger daughter by these details so much so that when she brings it up to her older sister, she pieces the facts together and realizes that the owner must be their Mother- long assumed gone forever. Thus the older sister goes to the parlour to confront the mother that abandoned them and pleads with her not to reveal who she is to the younger sister. Obviously, things don't go as planned and after realizing that her boyfriend doesn't actually love her- the younger daughter decides not to have her unborn child, gets an abortion, and drowns her sorrows in sake. Her boyfriend barges into the bar to talk with her and she angrily departs only to be hit by a train on the way out. After her death the older sister seeks out their mother and tells her of the news, and pointedly barbs that "it's your fault". The older sister returns home to tell her father that she will try to make their marriage work for her child, as she has seen what growing up with only one parent can do to a person as it happened to her sister. Their father agrees, citing that though he tried his best, a child needs the influence of both parents for a well rounded childhood.
Equinox Flower (1958)
The first film Ozu made in color, "Equinox Flower" is a huge departure from the last film's darkness. Even though Ozu was pushed to make the change to color by the studio to better capture their newly acquired actor in Shin Saburi, the director fully embraced the change. Red tea kettles and bright orange sodas pop onscreen and pair with this film's optimistic tone quite nicely. This film takes the focus back to the parents viewpoint as they begin to take the first steps in understanding and accepting their children's independence. Saburi's father figure is one of the more inconsistent leads in an Ozu film. He begins the film at a friend's son's wedding where he gives a short speech praising the opportunities that the youth have today, and chastising the old ways of the past. However he spends the rest of the film attempting to force the tradition of an arranged marriage, for pragmatic reasons, onto his oldest daughter. In fact later in the film when he's challenged about his resistance to change, one of his daughter's friends (who also has issues with her own mother constantly trying to pair her up with financially stable men) takes it upon herself to act out a test for him. She asks him for some advice on her situation, framing her family strife as a stand in for Saburi's eldest daughter's predicament, to which he advises that she do as she pleases and that she doesn't need her mother's approval. The friend then reveals the set-up to him by saying that his eldest daughter will be so happy to hear that he approves of her choice to marry for love and not in the traditional way. The father finds that while his casual acceptance of the principles he espoused at the beginning of the film aren't necessarily in practice in his family life, but his peers, wife, and children all guide him in the right direction. Eventually he accepts this change and embraces his daughter's choice which results in one of the more uplifting endings for Ozu.
Late Autumn (1960)
This film continues the themes that "Equinox Flower" began by evolving further in embracing the younger generation's independence. This time around the primary lens of the film flips to a mother's view on her children's future rather than the father's in the last film. The widowed mother goes back and forth on whether or not to remarry so as to relieve her daughter's guilt over abandoning her. The source of conflict comes from the three wannabe matchmaker businessmen who inflict confusion and emotional pain on these two women through their bungling attempts at setting them each up with appropriate suitors. Which only further establishes the idea that the old ways are over. This film reuses a majority of the actors and sets from "Equinox Flower" so watching them back to back can be a bit disorientating, but the core of each film has enough substance and personality to stand out from each other. This is the first film where the younger generation not only stands up for their right to choose, but does so with a fierce confidence. This is expressed perfectly in one scene where the widowed mother's daughter's friend dresses down the three businessmen who admit to their fouling things up. The message of the film becomes clear near the end when the widowed mother chooses not to remarry. While the daughter feels sorrow for her mother, she expresses an earnest need to her daughter to choose happiness for herself in her own life. The mother admits that she will experience some loneliness without her around, but that this cannot be helped and that they must both lead their own lives for themselves. The importance of moving forward with life is paramount in this film.
The End of Summer (1961)
The lead actor from "Floating Weeds", Ganjiro Nakamura, returns here as the patriarch of a family that owns a small, struggling, sake brewing business. Again, as in "Floating Weeds", Nakamura's father figure hides another mistress from his peers- though it is from his large family rather than an acting troupe for this film. The man-child's selfish actions blended with two of his daughters being courted by the family with various suitors makes for a well rounded combination of comedy and tragedy. This tight knit family struggles to deal with their patriarch's childish actions and how to handle their eventual transition to power in the sake business- contemplating selling out to larger corporations rather than trying to stay afloat by any means possible. Near the end of the second act, a surprise heart attack hits our patriarch which brings the family's strife into starker and darker territory. Ironically, our lead bounces back from his death bed with renewed vigor to settle a few more things before his end, which pairs with Ozu's own death only two years after this release. Humorously, at one point two side characters remark at how difficult it is to keep track of who's who in the Kohayagawa family- and I could relate!
An Autumn Afternoon (1962)
This is Ozu's final film, and one that perfectly bookends his "Master period" that began with "Tokyo Story". Returning as a lead character once again is Chishu Ryu as an aging widowed father who lives with his two youngest children. His daughter is of marrying age, but he's in no rush to push her to get married and leave the household. His oldest son is married already and lives in an apartment nearby with his wife. Early in the film our patriarch throws a reunion party with his former schoolmates in honor of their aging professor, affectionately nicknamed "The Gourd". The Gourd isn't exactly living the healthiest life at this point. He's a widower who lives with his adult daughter who never married out of the guilt of abandoning her father. Together they run a small, cheap, noodle shop in a dirty and industrial part of town. The Gourd is a drunk and he's consumed by his failures in life and his part in ruining his daughter's life as well. Chishu Ryu's patriarch sees a possible path for his own life and family in the Gourd's mistakes and he tries, vehemently, to amend these possible wrongs. Throughout the film we also see much more of a presence of consumerism in the characters lives. This thread began in "Good Morning", but is expanded upon here in detail with characters obsessing over a Baseball team's stats, watching TVs in bars, or coveting an expensive set of golf clubs. In the end our patriarch convinces his daughter to marry someone, anyone that she truly has an interest in, and not to worry about him or her younger teenage brother. The ending, while emotionally brutal, is a crucial element to the whole film. Acknowledging the pain of loss, and the loneliness of life can be difficult- but we must march ever onward, and do what is right.
NEXT TIME ON RAPID FIRE REVIEWS:
Another divergence from the former format will happen as I'll be doing a double feature review. Since Spike Lee recently released "Da 5 Bloods" on Netflix, I'll be giving that a watch as well as his third film "Do The Right Thing". Since I haven't seen either film yet I thought it would be the perfect opportunity to watch and discuss both and the evolution of Spike Lee as a director in that time.
https://spacecortezwrites.com/2019/04/17/old-school-review-tokyo-story-1953/
https://spacecortezwrites.com/2019/05/31/old-school-review-good-morning-1959/
https://spacecortezwrites.com/2019/05/21/old-school-review-floating-weeds-1959/
Old School Review: "Good Morning" (1959)
Posted on May 31, 2019 May 31, 2019 by spacecortez
Written by Kôgo Noda and Yasujirô Ozu and directed by Ozu, "Good Morning" is a comedic drama following two young boys who wage a war of silence against their parents to persuade them to buy a Television set so they can watch Sumo wrestling. This is the most charming of Ozu's films that I have seen thus far (three and counting), and still yet the film manages to insert powerful, but subtle, musings on the intricacies of communication and intent. The film is focused on a small Tokyo suburb of families living in close proximity with each other and it cleverly bounces between the language barriers and misunderstandings of a few groups of the residents. First, and most focused on, are the two brothers Isamu (Masahiko Shimazu) and Minoru (Sitara Koji). On their morning walks to school they and a few other boys from the neighborhood have perfected a game in which they press a finger against each other's forehead to instigate a fart, which gives way to laughter and affirmation in the group. Funnily enough, one poor kid keeps failing this intestinal test and, well, he begins and ends the film with a walk of shame back to his parents to get a change of pants.
The mothers and wives of the suburb turn a simple misunderstanding into a series of gossip and rumors because their collective dues haven't been paid accordingly. They all attest to have paid on time, surely, there was a simple issue along the way, but on the other hand the chairwoman, Mrs Haraguchi (Haruko Sugimura) who collects the dues, has just bought a new washing machine. As the film progresses, Mrs Hayashi (Kuniko Miyake) the mother of Isamu and Minoru, wanted to solve the issue quickly- she seems to be easily put on edge by financial stress– but Mrs Haraguchi hears about the allegation of a new washing machine bought illegally with the dues and confronts Mrs Hayashi (who didn't even start the rumor) to assure her that this did not happen. Ironically, later when Isamu and Minoru go on a strike of silence to get their parents to buy a TV, they apply this silence to all adults and Mrs Haraguchi assumes this slight was instigated by Mrs Hayashi for the misunderstanding, and quickly informs the other women that Mrs Hayashi holds grudges. This whole incident, by the way, is finally uncovered when Mrs Haraguchi discovers that the dues were given to her mother (Eiko Miyoshi), a comedic old woman who had simply forgotten about receiving them. The grandmother is often found praying, and blatantly complaining about her ingrate of a daughter- yet another Ozu familiarity in the comedy and tragedy of generational family affairs.
The fathers and husbands of the suburb also have their own issues with communication as well. The father of Isamu and Minoru (Chishū Ryū) must mediate and absolve his sons squabbling, after they loudly resist he bellows that "You talk too much for boys your age". Minoru (the eldest) responds that adults are even worse because adults always engage in pointless niceties like "good morning", "good evening" and refuse to say exactly what they mean. Which is how Isamu and Minoru come to their silent strike. Their father also has a scene with an older acquaintance in a bar who had found no solace in retirement, only the slow walk toward death. They try to communicate between one's drunken rambling and the other's botched attempt to cheer him up- but in doing so realizes his own encroaching retirement. It is this acquaintance, happier with a new job near the end of the film selling electronics, that Isamu and Minoru's parents buy a TV from to celebrate his new job- to the joy of the silent little warriors.
Final Score: 2 brothers and a few rumors
Old School Review: "Floating Weeds" (1959)
Written by Kôgo Noda and Yasujirô Ozu and directed by Ozu, "Floating Weeds" is a remake of Ozu's own black-and-white silent film "A Story of Floating Weeds" made in 1934. This film follows a traveling troupe of actors performing Kabuki theatre around the provinces ("floating weeds" is a Japanese term for itinerent actors). In the opening we're introduced to the sleepy fishing village that will house the story to come as a few random dock workers muse about the heat of the day and the novelty of the incoming troupe. The troupe arrives by boat and parades into town handing out flyers and talking up the locals as they make their way towards their new temporary home while in town, the theatre. While there are some delightful and fun side stories with several members of the theatre crew, the plot's main focus is on Komajuro Arashi (Ganjirô Nakamura) the leader of the operation, and lead actor. After settling in Komajuro heads off to a Saki bar run by Oyoshi (Haruko Sugimura, his former mistress) to visit and go fishing with Kiyoshi (Hiroshi Kawaguchi) their grown son who is unaware of his true father's identity, knowing Komajuro only as "Uncle".
As you might guess, it isn't long until Sumiko learns of Komajuro's ulterior motives in choosing this town for their next round of performances. Which doesn't go well for Komajuro, as Sumiko's the jealous type. After she discovers this affront and sees Oyoshi in attendance at one of their shows, she goes to Oyoshi's Saki bar and aggressively confronts her when she catches Komajuro there playing Go with Kiyoshi one afternoon. Despite Komajuro's shock and dismay at Sumiko's transgression he bans her from the Saki bar and breaks it off with her in a powerful argument in the rain. Later on Sumiko offers one of the younger actresses some side money to go and seduce Kiyoshi at his job. While reluctant at first Kayo (Ayako Wakao) eventually accepts without knowing Sumiko's reasoning for the request. Despite the origins of their relationship, Kiyoshi and Kayo end up falling in love. Shortly after this development Komajuro stumbles upon the two embracing in an alley and finds himself in a conundrum- how can he exercise his authority over Kiyoshi without revealing his true identity to him?
Komajuro had high hopes for his son, Kiyoshi had been saving for college and had plans to support his mother when he could. Before Komajuro can sort out the situation though, Kiyoshi and Kayo elope just as the theatre troupe had begun to fall apart. The financial manager absconded with their funds and several members considered leaving before they become too desperate. Dwindling crowds paired with mismanagement spelled the beginning of the end for the troupe. Eventually Kiyoshi and Kayo head back to town at Kayo's pressuring- but Kiyoshi and Komajuro clash at the Saki bar when Oyoshi reveals Kiyoshi's true parentage in an attempt to diffuse the scuffle. Kiyoshi discards Komajuro and leaves in a huff while Komajuro sits in amazement at the series of baffling failures set at his feet. He decides to move on after a cheerful long goodbye to the troupe, ironically riding out of town on a train with Sumiko tending to him- begrudgingly accepting his enemy's re-established loyalty.
Ozu's works, of the two I've seen so far, have this unique serenity to them. Maybe it's the leisurely pace, the shots of gentle locations giving the world of his stories a sense of the oft quoted "lived-in" space, or simply that the content of his films are universal to the modern human experience. His films evoke a powerful catharsis felt just as strongly sixty years later. Obviously, not every film will work for every person, but I'm willing to bet that if you gave any of his films a chance you might find yourself quizzically enraptured not just by the drama of common themes across his filmography, but also by the meditative cinematography of his infamous "pillow shots" that melt in-between scenes asking you to pause and digest, relax and breathe. There is something powerful in his depiction of the joy, sadness, humor, and tragedy of everyday life that makes his characters seem familiar and his plots reminiscent of truth.
It wouldn't be an Ozu film (as I've come to notice in my intense search for information on the filmmaker) without a particularly precise composition for every shot in his films. Ozu would typically put the composition of his frame above all else, ignoring the continuity of props and eye-lines for the purity of his images. Which is doubly true for his foray into color filmmaking near the end of his career. His warm pastel coloration for "Floating Weeds" adds another layer of texture to the small seaside village the story takes place in. Between the visible mugginess of the hot summer and the cleansing, humidifying, rain that comes at night and in-between heated arguments, there is a unifying sense of place not only with the "pillow shots" of nature and architecture but in all variables of the filmmaking process. Particularly pleasing was the soundtrack, evocative of popular video game scores (which were probably inspired by films such as this) like "The Legend of Zelda: Wind Waker" and "Animal Crossing", it was perfectly set for a small seaside village in the heat of summer. I doubt there could have been a more perfect fit than what we got. The recurring theme gave way to the notion of music belonging to a particular place in its essence, these melodies molded to fit this time and this place. All of these things combine to craft a beautiful and atmospheric stage for Ozu's story to play out, and it does so with a grace and humility like no other.
While maybe not quite as emotionally impactful as "Tokyo Story", Ozu's remake here is a more diverse picture in terms of emotional balance. This is purely my commentary and I can only speak to my experience with the film, but this film held a greater variety of emotional resonance. I was legitimately shocked when Sumiko directly confronted Oyoshi in her Saki bar. The following heated debate in the rain between Sumiko and Komajuro was incendiary and raw. The anger, regret, shock, and disgust thrown at each other was palpable and moving. While earlier, in less fierce scenes, I was tickled by the three bachelors of the troupe and their antics in trying to pair up with the women of the town. This film is a rarity among cinema, as was Ozu himself, and it's worth your while to experience something new in the pantheon of film, even though this film is sixty years old- it's still a charming story with universal and relatable characters and themes. Give it a shot!
Final Score: 3 bachelors, 1 lead actor, and 2 mistresses
Old School Review: "Tokyo Story" (1953)
Posted on April 17, 2019 by spacecortez
Written by Kôgo Noda and Yasujiro Ozu, and directed by Ozu, "Tokyo Story" is seemingly a simple family drama about an older couple traveling to visit their children and grandchildren in Tokyo. At first glance, you'd be forgiven for thinking such of an arthouse film, but you'd be wrong in this case. In essence that is the skeleton of the film, yes, but beneath the initial layer lies a story about family and how time can erode once strong connections. It is about how parents can lose their place in their family's hierarchy. How work and modernization can manipulate and destroy family in subtle ways. Mostly though, it is about the bittersweet heartbreak of growing old and losing touch with those closest to you.
When Shukichi (Chishu Ryu), the grandfather, and Tomi (Chiyeko Higashiyama) the grandmother, arrive in Tokyo they're welcomed by a busy family. They spend the first few days with their oldest son Koichi (So Yamamura) a doctor in a small local clinic. He is married to Fumiko (Kuniko Miyake), and they have two sons. After meeting their grandchildren and hanging out about the house (Not many adults have the time away from work to take them sightseeing) they head to Koichi's sister, Shige's (Haruko Sugimura) home. Shige is also married and runs a beauty salon in the first floor of their abode. The family members mean well, and make several attempts to entertain their elders, sightseeing some and buying them treats (though Shige protests at her husband for buying such expensive cakes- they eat most of them before presenting the gift). At a lack of finding things for Shukichi and Tomi to do the married couples recruit Noriko (Setsuko Hara) their widowed daughter-in-law who hasn't yet remarried since the war. Noriko is more than happy to help, even though she isn't a blood relative and has the least stature among the adult children of Shukichi and Tomi.
They try not to burden any of the family while they are in Tokyo, but it becomes clear after some time that they are simply too busy to accommodate them. After a failed trip to a resort spa outside of Tokyo, paid for by Shige's family, Shukichi and Tomi decide to head home. They linger about for a bit, trying not to offend anyone for having left the spa early, which isn't why they came to Tokyo in the first place. After a night out with Shkichi's old village friends now residing in Tokyo, and Tomi having a profound evening with Noriko- they depart for home. Shortly after having returned home, Tomi falls gravely ill and the children begin to make the journey home for their dying mother. It is a beautiful and tragic sequence of scenes for the last half hour of the film, Shukichi veiling his grief with blank expressions and the children all commingling their grief and true feelings about their parents- it's a lot, and if you can make it through the end with dry eyes, I honestly don't know what would move you to tears in cinema.
The story, however, is only one slice of what makes this film so memorable and potent. Yasujiro Ozu's technique behind the camera accounts for much of the dreamlike quality of the film. His cinematography and framing choices seem unique in how he utilizes them. He doesn't always adhere to the eyeline rule, characters can seem as if they aren't looking at each other as they speak, but he cares not. His style doesn't sacrifice spacial or auditory understanding in the least, it enhances it. Ozu often frames two people sitting side by side, facing away from the camera, which gives the audience an almost ghostly viewpoint of the dialogue. It's in this pairing of those faraway, unconcerned, shots of conversation with his low angle mid-shots of the actors directly facing the camera that Ozu's style emerges as one both heavily invested in what his characters have to say, but also of the world they inhabit. Many scenes are bookended with "pillow shots" (relating to a similar technique in Japanese poetry); beautiful compositions of elaborate cityscapes, simple architecture, trains chugging along, or boats cruising along the coast in the background that bind the characters to their place and time so beautifully.
Inherently relatable and elegantly true to life, "Tokyo Story" was a joy to discover. I cannot recommend it enough, I found it (as with most older films lately) on the Criterion Channel, and with it a new filmography to plumb. Test new waters, take a chance and maybe you'll find a new favorite film or filmmaker, I know I have.
Final Score: 4 adult children, 2 grandchildren, and 1 heartbroken old man..
*To further inform you on the humble perfection of this film, I've linked Roger Ebert's review of the film below:
https://www.rogerebert.com/reviews/great-movie-tokyo-story-1953


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You are here: Home1 » Blog2 » Publications3 » Defining a Detailed Approach to Using the Adenovirus Reference Material...
Defining a Detailed Approach to Using the Adenovirus Reference Material (ARM)
Publications January 1, 2003
This white paper encouraged advocates of the adenovirus standard to carefully examine its use in the field. It was originally presented at conference in 2003 but the article has recently been made open access (https://www.bioprocessingjournal.com/afp/J25-Sajjadi.pdf) due to renewed interest in adenoviral vectors for other applications including COVID 19 vaccines.
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Review: Boy
Boy takes place on a winding conveyor belt, with actors and props spinning before the audience like dishes at an especially dour branch of Yo Sushi. What starts out as a sexual health clinic becomes a bus stop then a housing estate then a park then a street outside a nightclub. Often several conversations take place at once, fighting for your attention, most involving futile attempts to push back against an uncaring, unforgiving system.
It follows Liam, a disillusioned 17-year-old trying to navigate the world after leaving school. He has no qualifications, no social skills and no prospects; he's hungry and horny and angry and very, very lost. He has a vague idea that he needs to meet friends at Sports Direct but, without a working phone, Oyster card or sense of geography, this is a major undertaking. His journey is an epic trawl through the world of London's forgotten and dispossessed, a kind of 21st century Ulysses in which the city is as much a character as the various down-and-outs Liam stumbles across.
The production, unlike its characters, has no shortage of ambition: it's packed with bells and whistles and clever embellishments. The conveyor belt is a sharp metaphor for a young man being borne listlessly through life with little understanding and even less control. It's made even more surreal by its actors' habit of lounging back on invisible chairs or reclining onto invisible beds, achieved by hidden leg-braces that clip into the stage.
But these theatrical accoutrements paper over the cracks of what, underneath it all, isn't a great play. It's a little too keen to shoehorn in references to escalating house prices and zero-hours contracts, and while the yoof-speak its characters communicate in is good for a few laughs ("you're Cillit Bang; whiter than white!"), it's never particularly convincing.
Liam's story is one of the most important of our time, but this isn't a definitive telling of it.
→ Review: The Suicide
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text:
using BinDeps
using Compat

@BinDeps.setup

libstemmer = library_dependency("libstemmer", aliases=["libstemmer.so", "libstemmer.dll"])

prefix=joinpath(BinDeps.depsdir(libstemmer),"usr")
dnlddir = joinpath(BinDeps.depsdir(libstemmer), "downloads")
srchome = joinpath(BinDeps.depsdir(libstemmer),"src")
srcdir = joinpath(srchome,"snowball_code")
bindir = joinpath(prefix,"lib")

dnldfile = joinpath(dnlddir, "snowball_code.tgz")
patchpath = joinpath(BinDeps.depsdir(libstemmer),"patches","libstemmer-so.patch")
binpath = joinpath(bindir, "libstemmer."*BinDeps.shlib_ext)

for path in [prefix, dnlddir, srchome, bindir]
    #println("making path $path")
    !isdir(path) && mkdir(path)
end

if !isfile(binpath)
    if is_unix()
        run(download_cmd("http://snowball.tartarus.org/dist/snowball_code.tgz",dnldfile))
        cd(srchome)
        run(`tar xvzf $dnldfile`)
        cd(srcdir)
        run(pipeline(`cat $patchpath`, `patch`))
        for mkcmd in (:gnumake, :gmake, :make)
            try
                if success(`$mkcmd`)
                    cp(joinpath(srcdir, "libstemmer.so.0d.0.0"), binpath)
                    break
                end
            catch
                continue
            end
        end
    end

    if is_windows()
        Base.warn("No integrated stemmer available on Windows yet.\n" *
                  "Place a compiled Snowball stemmer dll at $binpath for stemming to work.")
    end
end

provides(Binaries, bindir, libstemmer)

redpajama_set_name: RedPajamaGithub


Hey there! I'm super excited to share with you how to join crochet granny squares! This is a highly requested tutorial, so I decided to share and teach the 3 best ways (in my humble opinion). These methods can be used for any granny square pattern. In the video I discuss the pros and cons of each method.
The first way that I recommend is the use some spare yarn and a yarn needle and sew them together using a simple stitch.
Place the granny squares right sides together.
Thread the yarn needle with some spare, coordinating yarn.
Pull yarn through and tie in a knot. Insert the yarn needle under the outer loop of the top of the stitch on both granny squares. Bring around and insert again all the way down the square. Create the row first and then sew rows together.
This is another way I like to join squares. I really like the way it makes the front of the squares look.
Attach spare piece of yarn with a knot in the top of the stitch on one corner with squares right sides together.
Insert hook under the knot, yarn over and pull through. Chain 1.
Insert the hook in the next stitch, grab the spare yarn and pull through the 2 squares and then pull through the loop on the hook (slip stitch) and repeat.
Make each row and then sew rows together.
This method is great and definitely one that you should know. I think it is the most secure of all of the options and the quickest with less ends to weave in. That being said, it doesn't look as good when the outer round of the granny square are contrasting colors.
Start with 1 granny square complete.
Begin the last round of the granny square you want to attach. On the last "pull through" of the last dc of the cluster, insert your hook to the same spot on the finished granny square. Grab the yarn and pull all the way through the squares and the last stitch.
Continue in this manner for a traditional granny square or every 3 or so stitches on a different pattern.
Here is the YouTube video for more details and instructions.
Need some granny square patterns? Try this one, this one and this one.
Hi Melanie… Thanks for the tutorial. I like the second and third ways of joining the granny squares best. I just need to actually work with the third method to really get a handle on it. I've watched other videos showing it but haven't tried it yet. Your tutorials are great!


text:
Supreme Court Dramatically Shifts False Claims Act Analysis
Supreme Court Dramatically Shifts False Claims Act Analysis, Daily Business Review
Reprinted with permission from the July 6, 2016 edition of Daily Business Review© 2016 ALM Media Properties, LLC. All rights reserved. Further duplication without permission is prohibited. ALMReprints.com – 877-257-3382 - reprints@alm.com.
In its June 16 Universal Health Services v. Escobar decision, the U.S. Supreme Court resolved a circuit split on the viability and proper scope of the implied certification theory of legal falsity under the U.S. False Claims Act. The unanimous opinion rejected the condition of payment analysis and adopted a rigorous materiality standard for analyzing FCA cases premised on underlying regulatory or contractual violations.
With their treble damages and statutory penalties, qui tam FCA lawsuits represent a significant and growing risk for large health care providers that submit thousands or millions of Medicare and Medicaid claims per year.
For these providers, Escobar will have a direct impact on both pending litigation and investigations as well as relators' and government counsel's calculations as to which cases to pursue. At the same time, the court's materiality safeguard would appear to inject a true fraud analysis into a statute that had morphed into an onerous regulatory enforcement tool.
The FCA prohibits knowingly submitting to the government or causing the submission of a "false or fraudulent claim for payment or approval." Courts have recognized that false claims can be either "factually false" or "legally false." A factually false claim is one that is based upon inaccurate information about the product or service billed, for example when a physician bills Medicare for services that were not actually provided.
Many courts had held that a legally false claim is one that either impliedly or expressly certifies compliance with conditions of payment set forth in applicable statutes, regulations or contractual provisions. Some courts had also held that, for the implied certification theory to apply, the underlying rule had to provide expressly by its terms that compliance with it was a condition of payment. It is this implied certification theory that the court addressed in Escobar.
According to the opinion written by Justice Clarence Thomas, implied false certification theory can be a basis for liability where at least two conditions are met: the claim does not merely request payment but also makes specific representations about the goods or services provided, and the defendant's failure to disclose noncompliance with material statutory, regulatory, or contractual requirements makes those representations misleading half-truths.
With regard to the materiality inquiry, the court emphasized the importance of applying a "rigorous" and "demanding" standard, such that whether a requirement is a condition of payment is relevant, but not dispositive. Under this materiality standard, the court reasoned, not every undisclosed violation of an express condition of payment will create liability.
That's because, according to the court, "The False Claims Act is not a means of imposing treble damages and other penalties for insignificant regulatory or contractual violations."
Material Violation
The court rejected the government's argument "that any statutory, regulatory or contractual violation is material so long as the defendant knows that the government would be entitled to refuse payment were it aware of the violation." Rather, the justices observed that proof of the materiality of the violation can include but is not necessarily limited to evidence that the defendant knew that "the government consistently refuses to pay claims in the mine run of cases based on noncompliance with the particular statutory, regulatory or contractual requirement."
Conversely, "if the government regularly pays a particular type of claim in full despite actual knowledge that certain requirements were violated and has signaled no change in position, that is strong evidence that the requirements are not material." Furthermore, materiality simply does not exist "where noncompliance is minor or insubstantial."
At the same time, a contractual or statutory requirement that has not been specified as a condition of payment may nevertheless be found to be material based on facts and circumstances. According to the court, the critical factor is not whether the government could hypothetically refuse to make payment because of a violation, but whether it would in fact refuse to make payment based on that violation.
Proper application of the materiality standard will, in the justices' view, allow courts to distinguish between true FCA violations and "garden-variety breaches of contract or regulatory violations," which are not actionable under the FCA.
The court's reasoning appears to apply with equal force to the express false certification of liability theory in addition to the implied false certification theory upon which the majority of significant FCA cases are premised.
As a result, to support liability under a false certification theory going forward, the government and relators' counsel will need to plead specific and particularized facts satisfying the court's "rigorous" and "demanding" new materiality standard.
Alison Tanchyk
Miami / Philadelphia
Eric W. Sitarchuk


text:
150 Years of SAIC
A look at how war affects an art and design school
Block Party Kicks Off SAIC's 150th Anniversary
SAIC's Columbus Drive Building
Completed in 1976, the Columbus Drive Building was SAIC's first building independent of the museum.
SAIC Underground
Back in the days when all SAIC classrooms were underground in the basement of the Art Institute of Chicago museum, there was one single gathering space for SAIC students, faculty, and visitors: the subterranean cafeteria.
Supporting Student Voices
Since 1994, SAIC's Student Union Galleries (SUGs) has helped hundreds of students find a forum for their voices and an outlet for their innovative, challenging work.
The Campus Center
The LeRoy Neiman Center opened in 2012 as the hub of SAIC's campus community.
About the School of the Art Institute of Chicago
For 150 years, the School of the Art Institute of Chicago (SAIC) has been a leader in educating the world's most influential artists, designers, and scholars. Located in downtown Chicago with a fine arts graduate program consistently ranking among the top programs in the nation by U.S. News and World Report, SAIC provides an interdisciplinary approach to art and design, as well as access to world-class resources, including the Art Institute of Chicago museum, on-campus galleries, and state-of-the-art facilities. SAIC's undergraduate, graduate, and post-baccalaureate students have the freedom to take risks and create the bold ideas that transform Chicago and the world—as seen through notable alumni and faculty such as Michelle Grabner, David Sedaris, Elizabeth Murray, Richard Hunt, Georgia O'Keeffe, Cynthia Rowley, Nick Cave, and LeRoy Neiman. Learn more at saic.edu.
36 S. Wabash Ave., Chicago, IL, 60603
© 2015 School of the Art Institute of Chicago


text:
Q: Auth0 error logs export to Azure Application Insights We are trying to send our auth0 logs to Azure App Insights. We have used the extension available for Application Insights and it seems to be sending logs.
The questions is :

*

*Where can I find these in the Application Insights?

*Any specific table (log analytics) where this goes in?

I have tried almost all the LA tables and also searched on the App Insights but no help. The auth0 documentation on the extension doesn't say anything about it.

A: Just in case this helps someone ,
After testing the POC , I have it figured out. The logs from auth0 will land in the 'customEvents ' table. Probably something that can be updated on the documentation for auth0 extensions.

redpajama_set_name: RedPajamaStackExchange


•GLA Economics has produced long-run projections of London's employment since 2002. These projections are trend based and set out the long run path of employment considered most likely based on the historic data available at the time of construction. These are used within the GLA for planning to provide capacity to accommodate the longer-terms needs of the London economy. Given their importance to GLA policy planning, this note looks at how the GLA Economics' employment projections have performed since 2002 and how this compares to projections from some other respected organisations.
•Although GLA Economics' employment projections are consistently below outturn, much of this is the result of upward revisions to historic employment data (which underpin the projections model). Further, the projections perform relatively well when looking at the projected annual growth rate and average annual error in relation to outturn, with the accuracy of the projections generally improving the longer the time period over which the estimates are analysed.
•The revisions to historic employment data also drive much of the variability in the GLA Economics' employment projections numbers over time. However, and by design, the revised projections are relatively consistent over time and average revisions between iterations in GLA Economics employment projections are relatively small.


Limited-edition! Graceful butterflies with delicate flowers are captured in faceted, hand-tinted, hand-polished crystal sculptures on mirrored bases.
Each of the stunning butterfly sculptures in this collection is hand-tinted and hand-polished in translucent crystal for astonishing brilliance. Each blossom radiates with delicate pastel colors, and each leaf has a vibrant shine. The elegant butterflies sparkle like gems thanks to their intricate facets and rich jewel tones. A mirrored base on each sculpture reflects the stunning garden scene above for the perfect finishing touch. Strong demand is expected for this beautiful garden-themed home decor. So don't delay. Order now!


We are a full-service smart home and building automation design and integration company. Our automation technology solutions make your home and safe, elegant, fun and easy to use. With commercial automation, businesses experience increased productivity, enhanced environments for employees and customers, and simple control. Our team is comprised of world-class experts in every field whose number one priority is to provide the best products and services to our clients in the greater Pennsylvania areas of Manheim, Lancaster and beyond.
Our image gallery is a wonderful section to gain additional inspiration for how our integrated smart technology systems can enhance your lifestyle.


The IRA Charitable Rollover was made permanent in December 2015. If you are age 70 ½ or older, you may now transfer up to $100,000 from your IRA to Western Rivers Conservancy. Gifts made from your IRA are not reportable as taxable income and the gift qualifies toward your required minimum distribution (RMD) for the calendar year, which may lower your income tax burden.
The Charitable IRA Rollover allows you to make a direct distribution from your IRA account to support Western Rivers Conservancy's work to protect the West's outstanding rivers and streams for the benefit of fish, wildlife and people.
You must be 70 ½ years or older at the time of the distribution from your IRA to qualify.
Your total yearly distribution to one or more qualified 501c3 charities, including Western Rivers Conservancy, is limited to $100,000 each calendar year.
You will need to contact your IRA Plan Administrator and request they distribute the rollover amount directly to Western Rivers Conservancy. Please use the attached form to request a transfer.
The check issued from your IRA must be made payable to Western Rivers Conservancy.
Please contact Jim Cox, Director of Donor Relations at Western Rivers Conservancy if you would like to be acknowledged for the gift. Many plan administrators will not include information on who is making the gift unless specifically requested.
The transfer of your IRA distribution must be made directly by your plan administrator to Western Rivers Conservancy by December 31 to qualify for that tax year.
Here are printable IRA Rollover Instructions for your Plan Administrator.
For further information, please contact Jim Cox, Director of Donor Relations at (503) 241-0151 ext. 226 or jcox@westernrivers.org.
This information is not intended as financial or legal advice. Please consult with your own personal tax advisor for advice and further details.


text:
Olia Hercules
The Underrated Pleasures of Eastern European Dumplings
Credit: Joe Woodhouse
For a long time, when I would talk to people about Ukrainian cuisine, I would hurry to note, apologetically, that "it's not all about dumplings and potatoes, you know." It has been drummed into Eastern Europeans, mostly by misguided Westerners, that our food is monotonously heavy, featuring little besides overcooked cabbage and potato-filled pasta. I was eager to prove that the cuisine of Ukraine and other ex-Soviet countries was as seasonal and regional as it was in places with more reputable cooking, like Italy and France. Our outdoor markets in spring and summer are full of bright soft herbs and sorrel, massive pink tomatoes and enormous watermelons, sour cherries and fragrant peaches, and our food during the warm part of the year is accordingly light and vibrant.
These days, though, I no longer try to hide the fact that my death-row meal would, without question, consist of varenyky, the Ukrainian version of what in Poland are called pierogi. Even though the name comes from varyty, meaning "to boil," these half-moon-shaped dumplings are sometimes steamed or boiled and then refried. My favorite filling is one of the simplest: homemade cheese curd, called syr, mixed with egg yolks and heavily seasoned with salt. The filling is gently wrapped in the thinnest of pasta doughs and boiled briskly. To serve, varenyky are dropped into a large bowl with about half a stick of melted butter and served with thick, full-fat crème fraîche called smetana. I can only eat about ten ravioli at a time, but I can easily pack away about forty varenykyin a single sitting. When I eat them, I feel like a euphoric child.
There are other dumplings in my life. One of my grandmothers, Vera, is originally from Siberia, so I also grew up with pelmeni—meat-filled dumplings served with plenty of black pepper and dipped in vinegar. They are the perfect food for colder climates. Vera remembers her mother storing a massive sack of them right outside the house during the freezing Siberian winters. They would be immediately frozen, the perfect convenience food; a few handfuls, dropped straight into boiling water, could make a lunch in just minutes for the family of six. As a young woman, Vera had an adventurous spirit. In the early nineteen-fifties, eager for a respite from the harshness of life up north, she took a train to Uzbekistan, and on the way she met my Ukrainian grandfather. They lived in Samarkand and Tashkent, where my father was born, for the next ten years. There, she learned to prepare many Central Asian dishes, and brought them with her when she and my grandfather later relocated to southern Ukraine.
That's how I have developed a very personal relationship with a dumpling called manti, which is famous all over Central Asia. Traditional manti, which likely originated in China, were made with hand-minced lamb and cooked in large bamboo steamers, their wood fibres fortifying the flavor of the dough. I instead grew up with a mantishnitsa, a large, three-tier metal steamer designed especially for manti. We would cook at least sixty dumplings at a time; if we didn't eat them all on the first go we could refry them in butter the next day, letting them develop a sumptuous, crispy bottom. The fillings, too, were adapted according to what was available regionally.
Unconventionally, for a dish from a Muslim part of the world, my grandmother used pork. She hand-chopped the meat with an equal volume of diced onions and chunks of homemade butter in lieu of the traditional lamb rump fat called kurdyuk. The juices from the onion would combine with the fat from the butter and the meat to form a tasty broth within the pockets of sturdy dough.
Manti are intricately folded, some reminiscent of sailor's hats, some of rose buds. In Central Asia, they are often served with yogurt and a spicy chili paste. We, however, always ate them doused in butter and with plenty of black pepper on top, following my grandmother's way with her native pelmeni. In the past few years, I've gained a preference for serving them with beurre noisette and crispy shallots. Whatever the accompaniments, they should be eaten with your hands, and there is skill involved in doing so correctly. As with any other good soup dumpling, you must bite a tiny bit of the dough off, wrap your lips around the incision and suck the liquid out, then shove the rest of it in your mouth without sacrificing any juices to your chin or to your clothes.
There are other first cousins of these meat-filled dumplings all over the ex-Soviet Union. Georgian khinkali, large and shaped like a money bag, feature chili, blue fenugreek, and sometimes (divisively) fresh coriander in a pork and beef or lamb filling. There is a vegetarian version, too, from the Georgian highlands of Kazbegi. They are filled with leftover mashed potatoes mixed with cheese and look exactly like Sardinian culurgiones and many Chinese dumpling varieties. Once you get hold of the plait-like folding method, they are most satisfying to spend your time preparing.
Which brings us to another point: making dumplings takes time. Consider the tiny ones called dyushbara, from Azerbaijan, for instance, which are served in a saffron lamb broth and sprinkled with sumac, mint, and purple basil. The tinier the better, they say. I have been known to make fifteen hundred in a day, ending up with a bad case of "dumpling neck" from having my head bowed in the kitchen for hours. A cook who decides to make these has to really want to please whomever they're feeding. But that is one of the reasons why dumplings are so enjoyable to eat.
Pork Manti
Makes 20 dumplings
150 ml. water
300–350 grams plain flour (plus extra for dusting)
250 grams (8 ounces) boneless pork belly or shoulder
150 grams (5 ounces) onion, peeled and finely diced
50 grams (2 ounces) butter
a good pinch of fine sea salt
3 shallots, peeled
a handful of plain flour salt
200 ml. vegetable oil (for shallow frying)
Make the dough. Mix the egg and water together in a bowl, then gradually add the flour and mix it well; if the dough is too soft, add slightly more flour as you knead it. Knead the dough on a well-floured work surface until the dough stops sticking to your hands. You are looking for a firm, elastic pasta dough. Wrap it in cling wrap, and let it rest in the fridge for thirty minutes to help the gluten relax.
For the filling, slice the pork into thin strips and then hand-chop it as finely as possible. Combine the meat with the diced onions. Season well with salt, and mix thoroughly with your hands.
Divide the dough into two pieces, and roll each one into a sausage shape. Then cut each sausage into ten 25-gram pieces.
Roll each piece into a rough 12 cm. circle. Place 1 tablespoon of meat in the center of each circle and a tiny piece of butter on top of the filling. Pull up two opposite edges of the circle, and stick them firmly together above the meat. Do the same with the two other edges, creating an X shape with the edges. Now join the "ears" by pressing together the corners, turning the X shape into an infinity symbol.
Lightly grease your steamer with vegetable oil and pop the manti in. Steam them vigorously for twenty minutes or until the filling is cooked inside.
Serve with some melted butter and plenty of pepper or, if you have time to be fancy, make a beurre noisette and fried shallots as follows.
Add 150 grams of butter into a light-colored pan and cook over low-medium heat, until it starts sizzling and foaming. When it turns deep golden and smells nutty, take it off the heat and pour into a bowl to cool down a touch. Slice the shallots into thin rings, and cover a large plate with paper towels. Now heat the oil in a deep, large frying pan. Toss your sliced shallots into the flour, and drop them into the hot oil. Fry until they're golden but not brown (they taste acrid if they go too dark). Drain on the paper towel, and season to taste with salt. Serve the manti with brown butter drizzled on top and the crispy shallots as garnish.
This article first appeared in The New Yorker.
More Writing
The power of intention, thought, nature & cooking
Georgia (Caucasus)
Silk & black snow
© Olia Hercules 2021


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Korea Women Clothing Store Online, Women Apparel shopping mall, affordable women clothing Korea mall kongstyle event(가상) Sweet Juicy, Strap Knit ★ The best item in KONGSTYLE !! ★ Orders for Orange alone are sent the same day ★KONG-STYLE★ 2017 kongstyle 10th birthday Party !!


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Beach-dunes seasonal elevation changes, bathymetrical surveys, shoreline evolution investigations, sand transport measurements and estimates of vegetation density role on the sedimentary flux on the beach and in the foredunes were carried out on Sfantu Gheorghe beach, Danube delta coast, from 1997 to present, aiming to determine the characteristics of coastal dunes development on a microtidal, dry temperate climate. Medium-term trends (years) and seasonal cycles of sediment transport are estimated from analyses of the wind and topographical time series.
For this 8-year interval, we identified a uniform rate of sand accumulation in foredunes sector (4-5 m3/m/year) both for the stable coasts and for progradating shoreline sectors, while the sub aerial beach volume experiences dramatically biennial changes. The multiannual beach width-volume correlation is logarithmic in the case of stable shoreline sectors and a linear regression for the coasts with progradating behavior.
Subaerial beach width – volume corellation for stable coasts with a strong seasonally-controled dynamics – R 48 benchmark (A), and for beaches dominated by depositional processes – NBuival benchmark (B).
Unlike the coastal dune evolution in a temperate humid climate, the pattern of sediment deposition in the study area (see figure below) exhibits a vast disposition of the accumulative sectors which frequently cover large parts of the foredune slopes with a regular increased deposition rate on the landward one; the dune toe rarely encounters deposition rates higher than the others. Indepedently of the wind direction, the dune crest encounters the highest foredune transport rates whereas the seaward slope experiments larger transport rates than the landward slope.
Beach-dune morphodynamics at NBuival benchmark: (A) sweep zone. The classification from A to D represents different degree of morphodynamics intensity from the most stable (A zone) to the most dynamic (D zone); (B) Volums of the subaerial beach, foredune and beach-dune relative to the shoreline oscillations; (C) cross-shore profiles showing the general evolutionary trend.
Largely, the pattern of erosion and deposition resulted from topographical surveys, are in good agreement with the sand transport measurements. They both show the presence of a vigourous sand flux which remains fairly high over the entire foredune even if at smaller rates (20-50%) than on the beach surface. In a dune landscape, the aeolian processes are gradually impeded by plant biomass production which here, on the Sf. Gheorghe beach (sensu stricto) or in temperate dry climate (sensu largo), remains very low. The vegetation and secondarily, the general foredune morphology which has a gently slope seaward, are responsible for the more uniform disposition of the sand flux over the foredunes, compared to its counterpart in the temperate humid climate.
(A) DEM of R48 polygon in April 2003; (B) Level changes resulted from the subtraction of the DEM's surveyed in April 2003 and August 2004.
The computed beach volume, beach width and foredunes volume on R48 profile. Note the interconection between beach volume and beach width and the independent development of the foredune.
The most part of the storms are induced by northern strong shore-parallel winds. The situation is different for normal or oblique oriented storms that spend a considerably larger quantity of energy on the beach-dune system for a similar intensity of the storm. Important insights in sediments dynamics and level changes in the beach-dune system were gained as we performed accurate topographical surveys and computed the modifications just before and after storms.
For onshore storms, the wave attack angle is directed inland resulting in important morphodynamic impacts even when the storm magnitude is moderate. Figure below displays the cross-shore volume changes induced by the oblique-onshore January 1998 great storm. The strong impact of the hydrodynamic erosional processes is comparable with the eolian reworking.
A key factor in aeolian landforms evolution is the blown sand flux. Aeolian sand fluxes, particle pathways, pattern of erosion and deposition are important issues for the understanding and prediction of the aeolian landforms evolution.
In the temperate dry climate, feedback mechanisms between the vegetation cover and the sedimentary flux result in small and medium size foredunes with gently sloping flanks.
This is the case of the aeolian landforms on the Danube delta coast and from Letea, Caraorman and Saraturile beach-ridge plains which are investigated in a project of Sfantu Gheorghe Marine and Fluvial Research Station.
Linkage between sedimentary rates and morphometrical characteristics of the landforms in the temperate dry climate.
Sand transport measurements: A) Sand flux vs. beach fetch; average wind speed is 8 m/s and wind direction is normal to the shoreline (east); B) Measured sand transport rates compared with the potential transport; C) Sand fluxes measured simultaneously on the beach and foredune (solid line), compared with potential transport (Bagnold, 1941) expressed as coefficient of achievement (dotted line); Traps 9 and 10 are placed on the beach while T11 – 13 are placed on the dunes D) Measured sand transport rates compared to the potential transport.


I have decided that the 5th week of a month and I are going to be besties. Seriously.
All other weeks contain 2 to 4 days of after school meetings. Except for the 5th week, when I only have one. So I love that week.
Last week was glorious. It was also just a tease, because this is my first week of the month and I haven't been to the gym in 8 days and there seems to be no end in sight even though tomorrow is Friday. How is that???
I've taken blogging to a whole new level though. I'm at the dance studio. Being a stage mom. Blogging in the lobby.
Friday will never be what it used to be.


text:
Boundless Psychology
Biology of Emotion
The limbic system, autonomic nervous system, and reticular activating system interact in the processing of emotion.
Explain the physiology of emotional response in terms of the structures and systems involved
The limbic system, autonomic nervous system, and reticular activating system all interact in the physiological processing of emotion.
The limbic system categorizes human emotional experiences as either pleasant or unpleasant mental states. Neurochemicals such as dopamine, noradrenaline, and serotonin are important components of the limbic system.
The autonomic nervous system, together with the hypothalamus, regulates pulse, blood pressure, breathing, and arousal in response to emotional cues.
When activated, the sympathetic nervous system prepares the body for emergency actions by controlling the glands of the endocrine system. Conversely, the parasympathetic nervous system functions when the body is relaxed or at rest and helps the body store energy for future use.
The reticular activating system is believed to first arouse the cortex and then maintain its wakefulness so that sensory information and emotion can be interpreted more effectively.
homeostasis: Equilibrium of the body, in which biological conditions (such as body temperature) are maintained at optimal levels.
cerebral cortex: The grey, folded, outermost layer of the cerebrum that is responsible for higher brain processes such as sensation, voluntary muscle movement, thought, reasoning, and memory.
amygdala: A part of the brain located in the medial temporal lobe. It is believed to play a key role in emotion in both animals and humans, particularly in the formation of fear-based memories.
hippocampus: A part of the limbic system, located in the temporal lobe of the brain and consisting mainly of grey matter. It plays a role in memory and emotion.
emotion: The complex psychophysiological experience of an individual's state of mind as it is interacting with biochemical (internal) and environmental (external) influences.
Emotions can be explained in biological and neurological terms. The limbic system, autonomic nervous system, and reticular activating system all interact to assist the body in experiencing and processing emotions.
The limbic system is the area of the brain most heavily implicated in emotion and memory. Its structures include the hypothalamus, thalamus, amygdala, and hippocampus. The hypothalamus plays a role in the activation of the sympathetic nervous system, which is a part of any emotional reaction. The thalamus serves as a sensory relay center; its neurons project signals to both the amygdala and the higher cortical regions for further processing. The amygdala plays a role in processing emotional information and sending that information on to cortical structures. The hippocampus integrates emotional experience with cognition.
Other parts of the limbic system include the olfactory bulbs, anterior nuclei, fornix, column of fornix, mammillary body, septum pellucidum, habenular commissure, cingulate gyrus, parahippocampal gyrus, limbic cortex, and limbic midbrain areas.
The limbic system: The limbic system is the area of the brain involved with emotion and memory. Its structures include the hypothalamus, thalamus, amygdala, and hippocampus
The processes of the limbic system control our physical and emotional responses to environmental stimuli. This system categorizes the experience of an emotion as a pleasant or unpleasant mental state. Based on this categorization, neurochemicals such as dopamine, noradrenaline, and serotonin increase or decrease, causing the brain's activity level to fluctuate and resulting in changes in body movement, gestures, and poses.
The Amygdala
The amygdala, located in the left and right temporal lobes of the brain, has received a great deal of attention from researchers investigating the biological basis of emotions, particularly of fear and anxiety (Blackford & Pine, 2012; Goosens & Maren, 2002; Maren, Phan, & Liberzon, 2013). The amygdala plays a decisive role in the emotional evaluation and recognition of situations as well as in the analysis of potential threats. It handles external stimuli and induces vegetative reactions.
Two parts of the amygdala include the basolateral complex and the central nucleus. The basolateral complex has dense connections with a variety of sensory areas of the brain. It plays a critical role in classical conditioning and in attaching emotional value to learning processes and memories. The central nucleus plays a role in attention. It has connections with the hypothalamus and various areas of the brainstem and regulates the activity of the autonomic nervous and endocrine systems (Pessoa, 2010).
Research suggests that the amygdala is involved in mood and anxiety disorders. Changes in amygdala structure and function have been found in adolescents who either are at risk for or have been diagnosed with a mood or anxiety disorder (Miguel-Hidalgo, 2013; Qin et al., 2013). It has also been suggested that functional differences in the amygdala could be used to differentiate individuals suffering from bipolar disorder from those suffering from major depressive disorder (Fournier, Keener, Almeida, Kronhaus, & Phillips, 2013).
The hippocampus is also involved in emotional processing. As with the amygdala, research has demonstrated that hippocampal structure and function are linked to a variety of mood and anxiety disorders. Individuals suffering from posttraumatic stress disorder ( PTSD ) show marked reductions in volume in several parts of the hippocampus, which may be the result of decreased levels of neurogenesis and dendritic branching (the generation of new neurons and the generation of new dendrites in existing neurons, respectively) (Wang et al., 2010). While it is impossible to determine causation, studies have found improvements in behavior as well as increase in hippocampal volume following either pharmacological or cognitive behavioral therapy in individuals suffering from PTSD (Bremner & Vermetten, 2004; Levy-Gigi, Szabó, Kelemen, & Kéri, 2013).
The autonomic nervous system (ANS) is part of the peripheral nervous system in humans. It is regulated by the hypothalamus and controls our internal organs and glands, including such processes as pulse, blood pressure, breathing, and arousal in response to emotional circumstances. The ANS is generally thought to be outside of voluntary control.
The ANS can be further subdivided into the sympathetic and parasympathetic nervous systems. When activated, the sympathetic nervous system (SNS) controls the endocrine glands to prepare the body for emergency action. SNS activation causes the adrenal glands to produce epinephrine (also known as adrenaline), which results in the "fight-or-flight" response. The fight-or-flight response involves increased blood flow to the muscles, increased heart rate, and other physiological responses that enable the body to move more quickly and feel less pain in situations perceived to be dangerous.
Conversely, the parasympathetic nervous system (PN) functions when the body is relaxed or at rest; it helps the body store energy for future use. Effects of PN activation include increased stomach activity and decreased blood flow to the muscles.
The parasympathetic and sympathetic divisions of the ANS have complementary functions, and they operate in tandem to maintain the body's equilibrium. Equilibrium of the body, in which biological conditions (such as body temperature) are maintained at optimal levels, is known as homeostasis.
The reticular activating system (RAS) is a network of neurons that runs through the core of the hindbrain and into the midbrain and forebrain. The RAS is made up of the midbrain reticular formation, the mesencephalic nucleus (mesencephalon), the thalamic intralaminar nucleus (centromedian nucleus), the dorsal hypothalamus, and the tegmentum.
The reticular activating system: The reticular activating system is involved in arousal and attention, sleep and wakefulness, and the control of reflexes.
The RAS is involved with arousal and attention, sleep and wakefulness, and the control of reflexes. The RAS is believed to first arouse the cortex and then maintain its wakefulness so that sensory information and emotion can be interpreted more effectively. It helps us fulfill goals by directing our concentration toward them and plays a role in individuals' responses to situations and events.
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Wow! Look at that view! And what a patio! Great outdoor space to enjoy your magnificent wooded view! If you've been looking for an in town wooded acreage, this may be the answer to your dreams. This home comes to you featuring .96 acres, spacious deck and incredible patio, 4 bedrooms, 2 and a half baths, a finished walkout lower level AND a heated 3 car garage. A few other extras are a formal dining room, main floor laundry, lockers off the garage and a gas fireplace with built-ins. If this isn't enough, picture being at the end of a dead-end street and having 20 wooded acres next to you. Words cannot describe how heavenly this is! And there is an addition room in the lower that can be finished if you need a little more space. Seeing is believing! Schedule a private showing today. You will be glad you did!


We offer the opportunity to visit our archives during excursions. We introduce different repositories, working premises and offices, also reading rooms and libraries and, needless to say, offer the opportunity to see with your own eyes unique century-old records and digitisation of records.
For an excursion to pass smoothly we recommend groups of up to 20 people. The excursions are free of charge. You are welcome to book an excursion using the form here. In case of work and official visits to the National Archives please contact Birgit Kibal, 738 7562, Birgit.Kibal[at]ra.ee.
Our main building Noora that was opened in February 2017 is situated in Tartu. In Tallinn it is possible to visit our departments in Madara and Maneeži street or Film archives.


Cricket isn't the easiest game to pick up.Cricket is a passion for lots of Country.Cricket is a game like Baseball.Cricket is a bat ball game played between two teams of eleven players. It is set on a cricket ground centred on a 22-yard pitch with two wickets each comprising a bail balanced on three stumps. The team that scores the most runs in its innings wins the match.or each phase of play a batting side tries to score as many runs as possible after striking the Cricket ball thrown at the wicket with the bat, while a bowling and fielding side tries to prevent this and each player.Means of dismissal can include being bowled, when the ball directly hits the stumps and dislodges the bails, and by the fielding side catching the ball after it is hit by the bat, but before it hits the ground. When ten players have been dismissed, the innings end and the teams swap roles. The side with the most runs generally wins, though there are exceptions where the game is drawn instead. The game is adjudicated by two umpires, aided by a Third Umpire and Match Referee in international matches.This Game of Cricket is controlled by International Cricket Council (ICC).There are 12 Test Playing Nations.
The Umpire Decision Review System (DRS) is a technology-based system used in cricket to help the match officials with their decision-making.It brings a remarkable change to this modern era cricket.Because It helps umpires to make almost correct Decision.This entire cricket game is controlled by Umpires.There are 3-4 umpire on and off the ground..They need to make instant decision while players appeal to them.Through Decision Review System umpires can make that game more correct.Both on field umpires takes some time and send this issue to the third umpire.Third Umpire took some look on that very closely then make a decision.
The main elements that have been used are television replays, technology that tracks the path of the ball and predicts what it would have done, microphones to detect small sounds made as the ball hits bat or pad, and infra-red imaging to detect temperature changes as the ball hits bat or pad.When a ball pitches in line and impact in line and wickets hitting,umpires will give that OUT.On the Other hand if ball failed to hit the stumps with 50% of that ball Batsman will given Not Out. While on-field Test match umpires have been able to refer some decisions to a third umpire since November 1992, the formal DRS system to add Player Reviews was first used in a Test match in 2008, first used in an ODI in January 2011, and first used in a Twenty20 International in October 2017.There are lots of T20 Match going around the world.People nowadays like T20 Cricket more.
• Television replay for several time including slow motion and clear sound system.
• All Hawk-Eye systems are based on the principles of triangulation using visual images and timing data provided by a number of high-speed video cameras located at different locations and angles around the area of play.Hawk-Eye,Virutal Eye and Eagle Eye : ball-tracking technology that plots the trajectory of a bowling delivery that has been interrupted by the batsman/batswoman,often by the pad, and can predict whether it would have hit the stumps.If decision goes favor of the batsman,he survive.
• Ultra-edge (Hawk-Eye's version): directional microphones to detect small sounds made as the ball hits the bat or pad. The use of the original Snickometer was superseded by Real Time Snicko in 2013.This Technology use for Caught behind Wicket and Caught to others.
• Hot Spot - Infra-red imaging system that shows where the ball has been in contact with bat or pad. Improved cameras were introduced for the 2012 season. This shows if there is any contact with bat and ball.Third Umpire can clearly see where that ball touches.
A fielding team may use the system to dispute a "not out" decision and a batting team may use it to dispute an "out" decision.This decision can be taken any stage of an innings.The fielding team captain or the batsman/batswoman being dismissed invokes the challenge by signal a "T" with the arms or arm and bat. Additionally, at their discretion, on-field umpires may request the Third Umpire reviews certain close calls such as line calls.They got only 10-15 seconds to think where to review that or not.Captain Vice-Captain,Wicketkeepers and senior players of that team join that conversation for make a better and acceptable thinking to review that. If that review success in favor of a team they got a better chance to win that match.
Once the challenge is set, acknowledged, and agreed, the Third Umpire reviews the play. The Third Umpire then send reports to the on-field umpire whether his analysis supports the original call, contradicts the call, or is inconclusive. The on-field umpire then makes the final decision: either re-signal a call that is standing or revoking a call that is being reversed and then making the corrected signal. Only clearly incorrect decisions are reversed; if the Third Umpire's analysis is within established margins of error or is otherwise inconclusive, the on-field umpire's original call stands.Each team can initiate referrals until they reach the limit on unsuccessful reviews. This limit is two unsuccessful review requests per innings during a Test match, and one unsuccessful review request per innings during a One Day International. From 2013 until September 2017, the number of reviews available for a team in a Test innings was topped-up to two after 80 overs. From October 2017, if the on-field decision remains unchanged because the DRS shows "umpire's call", the team will not lose its review.This is a plus point for cricketers.Because they can easily review if they any kind of doubt in their mind.
Overall We can say one thing that Science and Technology took this game and progress in a different level.This Decision Review System wouldn't have succeed if there were no science and technology involved.This DRS will make this game easier and smoother.
If you are interested in science, technology and mathematical things on steem blockchain, consider joining our biggest 'steemSTEM' community.If you want to stay with us join our discord Channel.More details about steemSTEM can be found here.


Many individuals take pride in their hair. It's not uncommon for someone to have a comprehensive hair care routine in order to keep it healthy and feeling fresh. Unfortunately, not all of these routines are made equal, and sometimes the habits we build to care for our hair could have the opposite effect entirely. Here are some evening habits that hurt your hair and how to prevent them.
It's understandable that, after washing your hair at night, you might already feel exhausted and want to turn in for the night. Unfortunately, that is actually a very damaging routine. This is because hair is incredibly weak when it is damp or wet, and in this state, there is a much higher chance of it breaking.
The friction from wet hair rubbing against bed sheets as one sleeps can cause dryness, fizziness, and broken cuticle ends. The tension that affects one mere strand of hair can affect all the others around it, too, and forcefully towel-drying can also present the same problems.
In order to avoid this problem, you can perform some hair care by moving this routine to the morning (and we will talk more about all the reasons this can be a great move in a short while). However, if you really must wash your hair at night, be sure to give it plenty of time to air dry. You can also use a hair dryer on a cool setting in a pinch. You can also braid wet hair before going to sleep to avoid damage, but try not to make this a regular habit.
If you choose to brush your wet hair right after getting out of the shower in the evening, your hair will receive the same amount of damage that sleeping with wet hair will cause. Unfortunately, there are just as many negative effects that can come from not brushing before bed at all!
If you sleep with tangled up hair, you're likely to add more tangles to it, create knots, and cause fizziness, split ends, and breakage. By brushing dry hair right before bed, you stimulate the scalp and help to distribute natural oils throughout the entirety of your hair strands, positively promoting healthier and shinier hair.
Once again, your best option is to ensure your hair has plenty of time to dry before bed so you can run your brush through it before you hit the sack. In fact, brushing your hair can be relaxing, and doing so in the evenings may help you get to sleep more easily. For best results, use a wide-toothed comb – best for natural oil distribution and also great for removing tangles.
Cotton pillowcases – and cotton sheets in general – have a good chance of increasing hair loss. This is because cotton tends to cause added friction to the hair, leading to looser hair follicles or breakage. Even if you don't move around a lot at night, the slightest friction can lead to this problem. Sheets that collect lint are even worse, so older pillowcases that need replacing will cause the same issues.
What sort of sheets should you opt for, then? Satin or silk are both much healthier options for the hair. It's a good investment to make, as not only does it ensure greater hair, but it also makes for a more luxurious bedtime.
If you cannot purchase silk or satin sheets, then you can get a silk scarf or something similar to wrap your hair up at night. Not only will this prevent unwanted frizz and friction, but it will also keep the hair in place so it doesn't get too tangled as you snooze, making it a two-in-one solution.
The way you tie your hair before going to bed can dictate whether or not your hair becomes damaged as you sleep. Using a hair tie that uses metal parts can be especially damaging, as the metal can actually tear at hair follicles when you sleep. Tight elastic bands may also damage the hair, especially when your hair is wet, and may cause creasing along the follicles.
Tying your hair too tightly – whether in a ponytail or a bun – is also very harmful. It's easy to assume that tying the hair tightly will prevent knots from occurring, or stop breakage, but it is actually quite the opposite. As a matter of fact, doing so repeatedly can cause the hairline to recede and result in thinning.
The solution to this? You can avoid tying your hair altogether. If you must tie your hair, use loose, soft scrunchies that are free from any metal. In addition, when tying your hair to go to sleep, do so very loosely. You can opt for a loose, high ponytail if your hair is not particularly long, a loose high bun for longer hair, or even a nice braid for a wavy touch when you wake up. You should also be sure to change the position of your tied hair every so often because wearing the same top knot for the whole day may cause further damage.
A lot of people decide that simply shampooing and washing the hair is sufficient for full hair care, but this is far from the case. While you don't need a lengthy hair routine for healthy tresses, it is vital that you incorporate some extra steps beyond shampooing, and there is no better time to do so than in the evening.
Neglecting to use conditioner can lead to easily preventable breakage to the hair. It causes you to miss out on some great properties that can boost growth and shine. Scalp care is also vital as this is where all your hair follicles are embedded – an unhealthy scalp means unhealthy hair by default.
How can you practice proper hair care? First, condition your hair as often as you wash it. If you plan to wash your hair every morning, then before you go to bed, use a deep conditioning product that can help to keep your hair moisturized as you sleep. For scalp care, put on a scalp mask before you go to sleep.
Old habits die hard, but when these habits can cause damage to your hair, you'll want to switch them up and search for better solutions instead of just positive thinking! By avoiding these harmful evening habits that can damage and replacing them with our suggested hair care solutions, you'll ensure healthy, shiny, and beautiful locks of hair.


Fancy a trip to Downton Abbey's Highclere? Or a meander to Games of Thrones' House Martell? Well, you won't have to go to far to find them because houses named after the TV favourites are popping up more frequently across the UK.
The Royal Mail analysed its databade of all 29.3 million UK addresses and produced a list of the top 50 most popular house names. Downton's Highclere Castle (the place where Downton is shot) was the highest scoring TV residence, with 188 houses sharing the real-life name of the ITV Abbey.
49 Hobbit-inspired houses were also registered, with Bilbo Baggins' home, Bag End, popping up in Guernsey GY, Haslemere GU27, Norwich NR1 and York Y06/2. Meanwhile, the CT postcode in Dover and the YO postcode in Selby proved the most popular places for Harry Potter's famous school, Hogwarts.
A show based on a war between houses serves to provide quite a bit of inspiration for homes now too, it seems. 73 Martell residences and 76 Bolton homes appeared on the list, signifying a rise in the popularity of Game of Thrones themed names.
Poldark mania appears to have taken hold in the housing market too, with Ross Poldark's, Nampara cottage found at 116 addresses across the country.
They're all small fry compared to the rather popular Toad Hall (496) and Thornfield from Jane Eyre (311), but it's a sure sign that TV and film are influencing our daily lives.
Oh, and in case you were wondering, Orchard is the most common house name in the UK. It appears on 11,894 homes across the country followed by Meadow (11,473) and Rose (11,308).
How many of 2015's top TV shows have you seen?


or he understands accordingly however his body is disposed.
7. "In this way he abides contemplating the body as a body internally, externally, and both internally and externally … And he abides independent, not clinging to anything in the world.
That too is how a bhikkhu abides contemplating the body as a body.


Washington, DC–On Saturday, March 30, at 1 pm, Mayor Muriel Bowser will kick off Phase 2 of The Wharf, the new mile-long neighborhood of residential, hotel, office, retail and entertainment space on the Southwest Waterfront.
Mayor Bowser invested approximately $200 million in tax increment financing and secured agreements with The Wharf to hire at least 51 percent of Washingtonians – 20 percent designated for Ward 8 residents; 30 percent of apprenticeships for Wards 7 and 8 residents; and The Wharf invested $1 million in workforce training for District residents. At full build out, Phase 2 of The Wharf will complete the remaining 1.25 million square feet of new mixed-use development, including office, residential, hotel, marina, and retail space, as well as parks and public places.
The community celebration will include a "Truck Touch" featuring DC Government and construction vehicles, live music and performances, kids craft activities and sidewalk games.
All reporters and other media interested in attending the event are asked to RSVP to [email protected]. To view the event online, visit mayor.dc.gov/live or tune in on Channel 16 (DCN).


Stefan is the President of FOND, the Romanian NGDO Platform. He has a PhD in Political Science and is visiting researcher at the South African Institute of International Affairs as well as an Academy Fellow at Chatham House. Stefan also founded ARCADIA, the Romanian Association for International Cooperation and Development.
Stefan was co-opted by the Board in September 2018.


Google Glass already has got more than its fair share of privacy concerns, and now it is about to get a lot more creepier (And possibly Cooler).
MindRDR is an App made by "This Place", and it combined with a Neurosky EEG Sensor will allow you to control Glass just by thinking.
Basically, a device is worn on your head, along with Glass, to monitor the electrical activity (EEG) going on in your Brain. Using advanced algorithms, the MindRDR App is able to roughly make out what you are thinking and carries out your bidding.
As it only monitors your electrical activity in your brains, it can't read your thoughts. Also currently, it can't actually know what you are thinking. It just reads your concentration levels.
5 Hi! Hallo? Hola? erm… you are not normal in a … you know.. human way. You could be Extra Terrestrial. Your mind is off the scale when it comes to attention. You are blessed with the ability of laser beam focus – enjoy.
It also tracks you concentration levels to later tell you how you performed during a session.
2 Wake up, you clearly have some good meditative abilities. However, passing out is not really the same as meditation, you do need to be conscious. Try smelling ammonia or some salts and let's start again. Try sleeping at night not during activities.
3 Looks like you know how to meditate. Good balanced approach, calm heart rate and focused energy. Occasionally this reading gets confused with laziness and apathy, we're not 100% sure in this case, have you even bothered to read this?
4 Wow man! You have some far out meditation skills. You are at one with your natural surroundings – so organic it's unreal. You are like a.. er…a mushroom.
5 Dude …are you still there? Seems like you have been meditating for eternity. You are so off the scale. No living person comes close to this level of serenity, peace and oneness with themselves. Dude? Say something?
It is being hosted on Github, so anyone can see, modify and tinker with its code.
Of course, the product still isn't perfect, as it is a first-gen product. RIght now, it's uses are not that complex, but nevertheless feel futuristic.
For example: If you concentrate really hard, you can take a picture. You can do other stuff too (Such as Sharing that picture), but we reckon that MindRDR's algorithms will develop and will increase in accuracy and complexity over time.
Controlling with a touchpad on the side of your head is very inconvenient. Granted, Voice Control improves upon it, but controlling by thinking is definitely much better and more suited for Glass. Oh, and it is pretty damn Futuristic.