text:
Willie Cole's shoe sculptures are like warped, grinning Rubik's cubes, complex goblins that feel like guardians of a wizardly secret—a password lies on the tips of their tongues, one that could open a gateway to a fabulous realm or, conversely, a trapdoor to a chamber deep below the gallery floor, where they keep curious gawkers who ask too many questions.
To complement and enhance the gargoyles are pictures where the masks become the faces on elegantly posed women, as well as a splaying round wall sculpture exposing only the soles of the feet—a medallion that feels like the aforementioned gateway. In the opening of the show is a brilliant figurative bronze sculpture whose basic forms are high heel shoes, but whose composite effect is that of a partly graceful, partly leering, partly animalistic female form—a fantasy that high heels have always made it their business to promote.
Interview by John Martin Tilley
office caught up with the artist to discuss the wondrous possibilities of footwear, art, and puzzles.
Tell me about your work.
My work in general, since about 1989 or 90, has been about taking objects that clearly from Western culture and recasting them in a tribal narrative, often with things that look African art, but because of the idea of tribal, they start to look like other cultures as well, especially Mexico and Asia. In my mind or the back of my imagination I proceed as if I'm trying to extract the spirit from the original object, so I don't work with a sketch or a plan, I just play with them for hours until something emerges. So in the case of the shoe masks, I feel that each shoe had the personality and the history of the person who wore them—they're all used shoes, gently used I should say—and they kind of make their own personality, I just have to remain open to that and put them together.
Another aspect of that same work is that I'm very interested in making work that looks like they come from the past, the present, and the future—I call that collapsed time, where everything comes into a single point called the now. And that makes them look very futuristic, but they might be put together in such a way that reflects a more ancient tradition. I'm also interested in multiplying objects, so I do a lot of work with water bottles, which is the probably the most exact on my formula for analysis—I take a single water bottle and multiply it, so now it's a thousand or three thousand water bottles, and it becomes something else. In that case, I tell myself that I'm doing what nature does by taking a single molecule and multiplying it to make something completely new.
I didn't even think of it as being tribal, but now that you say that it makes sense. I just saw the shoe faces and thought they were silly and refreshing.
Yeah, they just popped out. In the front of the gallery, I have a bronze, full-bodied figure. I think of them all as female because the shoes were females, so there's a female energy that I'm extracting from these objects.
Above: 'Eye Candy' and 'Black Panther'.
Yeah, it's amazing what you were able to create—it doesn't seem forced at all, either. Did you set out to make faces or a body, or is that just how it ended up? That's just what the shoes spoke to you?
In the beginning of the process, back in the late 80s or 90s I had a show in Philadelphia, and I wanted to make a bodysuit—my friend had given my five pairs of his sneakers and I needed so many more to cover the entire bodysuit, these were high-top, quality sneakers, I wanted the wearer to bounce up and down and see the shoes kick. So I went to a thrift store and I saw the high-heeled shoes. So, right away I switched from sneakers to high heels. I didn't know what I was going to make with them, but I knew they had great potential because they had great color, they had great shape, great history, great symbolism. I collected probably around 100 pairs at that time, and I played with them for about a month or two before I was able to recognize that the stiletto heel could be like a fang. And that led to the face aspect of it.
Now, at that time I made a chair out of high-heeled shoes because of Imelda Marcos, she had so many shoes, she was the wife of the President of the Philippines, so I made a throne for Imelda out of high-heeled shoes. And I made two faces, not masks for the wall but free-standing faces, and then many years went by, but in 2005 I received a fellowship at the University of Georgia—I was on campus for four years, they gave me a stipend, etc, but I didn't take any art supplies with me, not even paintbrushes. So while sitting at my empty studio there, I said, 'Maybe I'll take up the shoes again.' So I went to the local thrift store and told them that I wanted to make things out of shoes and that I would buy every shoe they had for fifty cents a pound, and they gave me like a million shoes, and the University of Georgia paid for them all at fifty cents a pound. So I continued with the shoes in 2005 with no real intention in mind. By the time this show came along, I knew I could make faces out of shoes—so I intended to make faces, I just didn't know what the faces would look like.
I would go into my studio and be confronted by rows and rows and tables and table of shoes, and I don't know what my intention is going to be, but I know I'm going to be there for three hours playing with the shoes. And some shoes suggest, perhaps a very long heal or a platform shoe might suggest a body, where as a pump might suggest a nose or an ear. So I let the shoes lead me to the final result.
It's interesting that it started out as sneakers and became high heels, because I feel like right now a lot of people who used to wear high heels are now wearing sneakers instead. You said the high heel has a lot of symbolism and power, what do you think those are?
The high heel for some women becomes a power shoe. This morning, I was at my fiancé's house and she gets up to go to work and I could hear her shoes coming down the hallway. It's almost like the drum announcing the coming of the king or queen. Even today with her colleagues it's like she can say she's high because she's wearing the high-heeled shoes. Those are some of the more positive symbolisms of the high-heeled shoe, but it also has the opposite suggestions as well. It could inhibit one's ability to run. And nowadays, with the branding and the depending on the maker of the shoe, it becomes a status symbol related to economics, like, 'Oh, she's wearing Jimmy Choo,' or whatever. And the designers sometimes do things to the shoes to suggest power or domination.
Above: 'Happy' and 'Street Dragon'.
Do you think you're playing into that with your tribal faces?
Well I'm letting the shoe lead me. If the shoe is pointing that way, I go that way. I'm pulling out the spirit of the shoe, or the wearer of the shoe. I'm not really dictating anything. When I was a kid, I played with Erector Sets and Tinkertoys and things you put together, and these were essentially the same thing—it's like a puzzle but the box has no picture on it. I know there's something in there, so I'm just looking for what that is.
I can feel that from the sculptures. They look like puzzles almost.
Yeah, I really move them around until they fit perfectly on their own. I don't cut them or change them in any way. So if two fit together and suggest something, I go with that. I work on several at once, so I'm able to just move around the room and if it doesn't fit here, okay, move on to the next one. Another thing that attracted me to shoes, was in high school my major was fashion design, so that helped me to appreciate the beauty of the shoes as well.
Above: 'Woman In Heels' and 'Sole Flower'.
It's funny about shoes too, because they're definitely fabulous but of the articles of clothing that you wear they're kind of the grossest. That's the thing about shoes.
The good thing is that women will buy shoes and wear them twice with an outfit, and then not wear them a lot. So when I went to buy shoes, I looked for the ones that had been worn the least. I live in New Jersey, and my local thrift store gets new shoes from one of the chain stores that gives them to the thrift store—so I was able to buy a lot of new shoes as well for a really low price.
But they are the foundation. They're close to the Earth. And they have memory. I can see the shoe take the shape of the foot that's in it sometimes. So all those things are feeding my choices. Also, I'm not the first artist to use the shoe. Dalí made a hat out of a shoe. It's almost like a readymade with a history. I make a lot of pieces out of steam irons, and Man Ray did the famous piece with the flatiron.
'Bella Figura' is on view at Alexander and Bonin through June 22nd, 2019. All images courtesy the gallery. Lead image: 'Ashley Bikerton'.
The Bennett Sisters Aren't Afraid to Die
"It's the one thing that ties us all together."
Move Swallow Breathe
Matthew Ronay's psychedelic pieces at PERROTIN Paris.
'Masters, Mavericks, Mavens'
Egg Collective brings Designing Women back to NYCxDesign Week.
How Doth the Plastic Robot Beast
Improve his rainbow spacesuit,
And pour the waters of the East
On each fluorescent boot!
How cheerfully he seems to grin
How nimbly roams his town
And welcomes little people in
A brilliant, frolicking clown!
office spoke with Leeroy New,
creator of these beings,
about where they come from and what they do,
and a bunch of other things.
What are these creatures and where do they come from?
These strange characters came into being as a survival or adaptive response to living in harsh or new, unfamiliar terrain. They manifest through the accumulation of material culture scavenged from navigating through spaces that provide very specific functions like market and industrial districts, 99 cent stores, and recycling centers.
What is their purpose in life?
They simply try to make spaces for themselves in often disadvantageous urban conditions manifested in DIY retro sci-fi space suits meant for exploration as well as protection. In a way, their physicality is a result of how they respond to and what they find in their changing environments.
Above: 'Lu M'bhat at the edge of the world' and 'Venus of Jackson Heights'
If your imagination were a planet, what kind would it be?
A planet that has the crucial ingredients to support life. This life may be different from what is presented as the ideal, but it is a unique and beautiful life nonetheless.
How would you describe your wardrobe? your lifestyle?
Very practical and straightforward. I wear clothes that I don't have to worry about getting dirty or torn due to my habit of constantly making things, lugging materials around the city, or climbing scaffoldings to install something.
Above: 'Lu M'Bhat' and 'Tug Li Bong Arguing With Sky'
Where did the materials to make these come from? How did you find them?
Initially I resisted traditional European art mediums because they were expensive, but also because I was exposed at an early age to how regular Filipinos transform everyday and often discarded objects into decor for their homes, jeepneys, sari-sari stores, and for the Christmas season. There is this inherent impulse for us to transform spaces as an extension of our need to celebrate life and abundance even though the majority of Filipinos live in poverty. I've since applied this principle of responding to what is available and oftentimes familiar.
If these characters could speak, what would they say?
That everyone has the capacity to transform and reclaim existing spaces for themselves in the same way that space explorers attempt to colonize harsh environments.
Everyone has the capacity to transform and reclaim existing spaces.
Above: 'Ma. Buhyan Crossing the Horizon' and 'Where am we'
Which is more important: art or life?
Art is irrelevant to life because life will always find a way, but if we're talking about human life we'll see that throughout human history we've always produced art, which makes one conclude that it is an enduring impulse for humankind because it is what fills the spaces between the practical functions of eating and sleeping.
All images courtesy of Alpha'a, a new digital art collecting platform, and Pintô International, a non-profit committed to contemporary Philippine art. Lead image: 'Ma. Buhyan journeys to the afterlife'.
Vanesse Maltese At The Nicelle Beauchene Gallery
Her first New York solo exhibition.
Serve the People Lucien Smith
What is STP?
Bjarne Melgaard's casual pleasure of disappointment
Giving away $500,000 worth of designer clothing.
Our Beutyfull Future
On June 26th CC Projects opened Our Beutyfull Future, a curation of mostly unseen works by the late photographer Davide Sorrenti. The exhibition, curated by Jade Berreau and Francesca Sorrenti, features Davide's personal work, scrapbooks, several published fashion pictures, and paintings. On a screen towards the back plays a charming interview of a youthful Davide.
The show itself came together to lovingly portray the moving warmth and authenticity of his visual diary during the mid to late 1990s. The photographs of his friends, family, and life in the playground that once defined New York City exude sincerity and passion, which contribute to the touching timelessness of his work. It was an exhibition that lingered with me as I left the gallery and walked around the Lower East Side, the backdrop of much of Sorrenti's life and work.
Interview by Elsa Herri
Photos courtesy of CC Projects
office spoke with Berreau about the curation of the show and the impact of Davide Sorrenti's photography today.
Tell us a bit about the origins of this show—why did you decide to do a curation of Davide Sorrenti's work?
It all really began when I was editing Let's Panic Magazine. Because I've known the Sorrenti's for 20 plus years, I approached the family and asked them if we could run some pictures on Davide ... they hadn't really been published since he passed.
I'd only seen a few of these works in some older issues of Let's Panic.
Yeah, so with the family's blessing I was lucky enough to go through the archive and do an edit and publish it. I always had a desire to maybe do an exhibition one day. Havana Lafitte, who was the fashion director of Let's Panic at the time, founded this gallery and so when the time was right, she said, "I think we should ask the family if they would be willing to do an exhibition." So that's how this started. I really did want to focus on his personal work because I think it's a little bit less known. He started working in fashion and most of his work that was published was fashion, but he had a camera with him at all times. There really was no divide between his professional work, even though he was so young and only beginning professionally, and his personal work. They were just married together. Francesca [Sorrenti] and I curated the show together and we decided to put in a splash of fashion here and there.
What would you like viewers to take away from the show?
Well, there's a few things. Mainly how his work is still relevant. To me, that's a sign of a great photographer— timelessness. Also, just to show what a special person he was, and how he was able to carry through his life through his images and his professional work. I find it interesting how someone who is so young…
The work is so mature!
It's so mature, definitely an old soul, and I think that has a lot to do with the fact that he was sick as a baby and throughout his entire life. He had to endure things that most people his age don't. So it gave him huge maturity.
What do you think the impact of his work is today? Particularly right now people seem to really like the style of work, I've seen a lot of inspiration from his style.
I think he was able to capture the moment in a very authentic, genuine way. Like I said, he always had a camera with him. It was just an extension of himself. This is only a fraction of the work, and that's just in a two to three year span! And when somebody is taking pictures to that extent, there really is no division between the photograph and their life. And that's why it really speaks to people today, that it is so real and authentic. And also he had such a wonderful sense of style, so there's a lot of inspiration for this generation when you look at the clothes, and also just the way people hold themselves.
Even the colors…
His colors are so beautiful as well. He had a very specific palette. We did the best we could to print everything analog, which was at the time obviously the only way to do things and the way he did it. We stayed true to his medium.
What inspired the title of the exhibition?
The title is lifted from one of his diary journal pages! If you look at the door, that's his writing. I thought it was perfect.
How did you select what went in the show? What aspect of his photography did you really want people to see?
Again it's mostly the personal work. It's endless! At some point we had to stop, I didn't think there'd be this many images in the exhibition. But there's so much work. We really wanted it to be a balance between his family, his friends, a tiny bit of fashion. Jamie was a big part of his life. So just trying to thread all of those elements throughout the show. Really show that he embraced everything in his life as one.
Yeah that's what I've noticed about the show. Whether it's a fashion picture or personal one, it always has his own touch that unifies the pictures no matter what the subject. It's all under the same gaze I think.
Yeah! And with his family, he wasn't really one to say, oh you know now I gotta go out with my family I'll see you later, it was all together. All his friends and family hung out.
That's so special, that's something I've noticed about the Sorrenti's in general. Gray Sorrenti for example, in her work you'll see her friends and family all interacting as one—there's no like, these are the adults in my life, these are my friends … they're all so close knit.
They're very close and they look out for each other. They all happen to be in the same business so it's important to them that they give each other the right advice and stick together. They came to this country as children together, and Francesca was single so she had to figure it all out on her own. I think they really learned a sense of unity from that experience, and respect for each other.
Davide portrays this old New York that people talk about a lot today and are so nostalgic for, especially in light of the changes with Tompkins Square Park. What do you think it is about this kind of life that people, especially in photography, really long for today?
Well there was a lot more freedom before 9/11. I think that that's the big turning point. New York City changes so quickly—it always has—and that's something we all have to accept. We all have nostalgia, no matter how old we are, for the old New York. But I really think that 9/11 just sped things up tenfold. So it's quite shocking to see the difference between now and 20 years ago. So yeah, I think people see a lot of freedom in his photography. I mean I experienced it myself in my twenties during the 90s and it was just a fun playground, you know? We had a lot more liberties than we do now.
Which work is your favorite and why?
That's such a hard one. I'm gonna go with the heart selfie of Davide.
Because it's him and I just hold that image in my mind whenever I do anything considering Davide. Davide was so full of love and made people feel so loved and special so it means a lot to me, that image. There are others that I think are aesthetically incredible, but as far as meaningfulness, I'm gonna go with that one.
What do you think makes a great picture?
That's a hard one… it just has to speak to you. It has to be authentic.
Sincerity in the work is so important.
You can feel it. It's true, you can tell.
Our Beautyfull Future is on view at 431 East 6th street through July 28th.
An Empty Vessel Makes the Loudest Sound
So listen: VOID at the ACFNY.
Please Fuck Me Paintings
It's been a rough year for David Craig Ellis.
Embedded History
Tyrrell Winston's delightful art garbage at Ed. Varie.
Casino of the Underworld
The ceramic sculptures of Heidi Lau seem to have grown from the Earth itself, emerging from an oceanic past that stretches back before time to the origins of our world. The forms that clump and squirm within the overall architecture of the pieces are like souls caught in the underworld that have fused with the soil around them, ghosts that have become earth, earth that has become ghosts.
Her work blossoms from her upbringing in Macau, stories her grandmother told her about her ancestors in the afterlife. The pieces, on view at the Venice Biennale, reflect on these personal memories as well as a collective past linked to Macau and its recent transformation into a city known for its casinos, but which is rich in Taoist beliefs, folklore, and a clash of architecture from its 400 years as a Portuguese colony.
office paid Lau a visit at her studio in Brooklyn to talk about the underworld.
Text and studio photos by John Martin Tilley
When I arrived at the address in Brooklyn, I was surprised at the sheer size of the building—an old industrial warehouse that occupied an entire city block, with patched-over windows and a foreboding brick exterior. Heidi Lau met me at the door and led me up a set of metal stairs and down a seemingly endless hallway, where distant sounds of art making could faintly be heard. Her studio was a lot like her: small, bright, unassuming, full of little surprises. Her sculptures seemed to listen as we talked about them, as if they might worm their way out the door the minute we weren't paying attention.
So as you can see, this is like my cave. I got my own kiln maybe four years ago, and before that I was sharing in a communal ceramics studio, and it was harder to make larger work, if you can imagine—because usually a lot of pottery studios are good for making fifty bowls, but no so good for making sculptural work. But I got the Joan Mitchel Foundation grant and that's when I decided I needed to take it to the next step. So, this has been where I make everything for four years. Everything is hand-built here, and I don't actually use that many tools, other than this little awl. Everything is basically made by my hands. I guess I can talk about these two things I got back from MAD [Museum of Art and Design], the Burke Prize show.
I love the MAD Museum, they're like my favorite museum, because nobody knows it's there.
They always have really interesting work. It's kind of crazy, they started doing this thing called the Burke Prize, which is a $50,000 grant for anyone that works in ceramics or craft-related, so the Burke Prize exhibition is the 16 finalists, so I was one of the finalists, and these two pieces were showcased. I guess a lot of my work is inspired in many ways from growing up in Macau, where I'm from, my family was and still is very Taoist, and very superstitious. I always remember the first memory of going to a temple with my grandma and her telling me, 'This gatekeeper of hell is your great grandfather.' I guess she was really sick as a kid, and then her parents did this Taoist ritual on her so that the gatekeeper would keep her out—that story really stuck with me in many ways, it's this strange familial connection to the underworld, or just things you cannot see. I guess this arched piece is sort of based on imagining my grandma going through an arch-like doorway into the underworld, but also returning from the dead as well. I was reading a lot of Taoist literature on the descriptions of hell, because there's actually eighteen levels, so it's dependent on what sin you have committed, you'll be thrown into a different level.
Now is it a similar concept to Judeo-Christian hell, like it's a place strictly for punishment, or is it hell as in just the afterlife?
It's just the afterlife. There's no heaven, it's just the afterlife. And you can leave, you have a choice to leave. Actually I did a piece in the Socrates Sculpture Park a few years ago, I made this grotto based on this idea where at the end of hell there's a bridge and an old lady who serves you a bowl of soup to erase your memory, so that when you pass on, you don't remember. But there are a lot of spirits that get stuck there, because there are things they don't want to give up, so they would rather be in hell forever, and it's kind of like their bodies start merging with their environment. So that enters a lot of my work, it's like anthropomorphized environment—people have turned into their environment because they have been there for so long because they couldn't get out or didn't want to get out.
So where does the bridge go?
That's so you can be reincarnated.
Ohhh. So the spirits that choose to stay, they don't want to forget their life.
Yeah, so they would rather be in hell forever.
Above: Lau in her studio; staircase approach to her studio.
They're holding onto their memories.
Or they're waiting for someone.
It's kind of romantic.
It is romantic. But also it's like forgetting is worse than not death, but…
It's a second death.
It's very powerful to me. So much of my work has to do with memory, and the stories that my grandma told me about herself, and then me using that material to make something that wasn't even true to begin with or had never existed in the place.
They're almost little depictions of the underworld.
Definitely. It's like a snake that has turned into a body limb, maybe at one point he had a whole body, but after a millennia, only what you needed was left.
It's almost like they're merging with the Earth.
Yeah. And they're shedding maybe what they don't need.
You know what they look like to me is coral. Do you get that a lot?
I do. It's not necessarily conscious, but when I make work I do think a lot about dump sites and things that people had gotten rid of. It's also me bringing in Macau also, because I grew up in a colonial time, and then Macau became a part of China again. So during that time there was a lot of social and identity upheavals that I feel like a lot of things were torn down to make way for new developments, and new urban policies—which is also when the casinos came in. I actually lost the house I grew up in at the time, so sometimes I feel like I'm imagining this wall that I had stared at a million times, being at a dump site by the water, it eventually will become a clay. It's totally a material fantasy, but I think about decay and rebirth a lot.
Above: Studio views.
It's like ashes to ashes, dust to dust. Everything is essentially the same material.
It's also kind of works with the idea of reincarnation.
I'm not too familiar with Taoism. Do you still practice Taoism?
My grandparents were the ones who were really into it. It's so stereotypical—my dad was really nihilistic, he's a pragmatist, so he was like, my daughter is not going to practice anything. I think that's why my grandma and grandpa would sneak in a believe system, little stories about how they honored the dead, and what a funeral's function was in family and also in society. I'm trying to learn more about it, but I haven't practiced it—except in funerals and weddings.
It is so interesting to think about the power of stories and family, especially in China, right? It's really intense in China.
It's almost political. Because of the Cultural Revolution my grandpa settled permanently in Macau because he couldn't practice Taoism, because Communism is atheist—anything supernatural or spiritual is considered anti-progress. It makes you not want to be a useful part of society. Even now all the religions in China have to be officially permitted, it's a very strict process. That's not so much in Macau and Hong Kong yet, because they're still special regions—we could still bury our dead, we don't have to have them cremated, we could still have a Taoist funeral, there's still a little bit more freedom. In the rest of China you have to be cremated because it's the most efficient and non-religious way to bury a body, it's an official thing. If you live in a very small town and did it on the DL, you could probably get away with a burial, but officially cremation is the state regulation.
China blows my mind.
I have a complicated relationship with it.
How long have you been in the United States?
I moved here for school in 2005. So a while.
Do you feel your work reflects on your time here, or is it kind of a looking back at your time in Macau?
I think it's a lot of things. I've always tried to identify as an artist from Macau as much as possible because our culture is already so invisible—for a city that has such a rich history and has been around for so long, when you hear about it now you just think, 'casino.' A lot of the press I'm reading now at the Biennale, that for political reasons Macau and Hong Kong and Taiwan can only be collateral exhibitions inside the China pavilion. Macau has been a colony for over 400 years of Portugal. Then after 1999 it became a part of China again, similar to Hong Kong.
So tell me about Venice.
It's in a courtyard—after we saw photos of the space, it reminded me of an older building in Macau, this courtyard isn't Portuguese but I feel like a lot of European buildings have a garden and a fountain similar to this. So it reminded me of buildings I had seen growing up, and I wanted to create a mythical corner when you walked in. So this fountain with the pond already existed, but the snake itself we created.
Now is your work a part of the functioning fountain?
Yeah, we made it for the space. The form itself is based on this Taoist snake goddess, Nüwa, it's kind of a creation myth—she had slain a giant turtle and used his legs as columns to support the sky from falling, which I've always felt was a great feminist story.
It almost looks like it's melting.
Oh good!
Like it looks as if it's crumbling. But you said you were interested in decay.
Eventually the snake goddess's body decays and becomes the Earth that we inhabit, her body became mountains and terrain. So I feel like when I was coloring the piece and working on the glaze, I was thinking about a landscape changing, or an energy that's powerful enough that it changes a landscape. So it makes sense that it looks like it's melting.
Above: Views of Lau's work at the Venice Biennale.
Almost like it's fusing with its surroundings.
Totally. It's also just perfect for the material of clay, because it does go through 2000 degree Fahrenheit heat in the kiln, it's a very transformative process. These other pieces are like the turtle legs that the Nüwa used as columns. I like the pieces to look both architectural and like they're a part of a landscape. When you enter the space, we included a quote from a cultural critic in Macau, Zhidong Hao, which says, 'Not only are those from the outside unable to see Macau, the locals are also unable to recognize themselves.' It's because Macau has been under very dominant narratives for so long, I feel like it's hard for us to imagine our identity in some ways. I don't know this, but this was an open call put out by the Macau Art Museum for a proposal to exhibit in Venice—so when my curator and I started thinking about it, we thought this was actually perfect timing. I think my work has always been about Macau, but not in such an obvious way, but this felt like a good time to think about how Taoism fit into Macau identity, as well as a chance to look at a lot of folk beliefs that are so important to our culture but that you don't hear about or necessarily associate with Macau.
Now what's going on in this other room? The Recreation Garden?
So this garden I constructed from memory, but it's based on a garden that was built by the first casino owner in Macau in the twenties. Ever since 1999 we had an explosion of casinos going up in Macau, which has caused a lot of social and space problems. But at the same time, that's why people know about Macau, it's a bit ambivalent. I was trying to think about the urban space in Macau and the things that had influenced me as a kid, and I was kind of shocked to remember that a garden like this that nowadays local people just go and do Tai Chi and play chess, but it has a history where it was founded by a casino owner. I feel like when we talk about casinos now, it's always about capital and progress, but the thing with this particular casino is it completely failed and he ended up hanging himself in his estate. So in a way, this has become his ruins, his monument, which now we use and don't even think about the origins.
It's almost like a casino of the underworld. So it's like a garden with a little maze?
It's accentuated, but it's a Suzhou-style garden, where it turns around nine times—I don't know why that it, but it's a style of bridge. So imagine the negative space below is water, and you walk on a tiny bridge. This is really accentuated, it's kind of from my imagination.
You should add a water feature.
I'd love to make it into another fountain. Another part of this garden was it had a theatre for Cantonese opera, which my grandma used to be an amateur singer—I would hear her from the kitchen. For this accompanying piece, I worked with this singer in Chinatown to record a song my grandma used to sing—so this actually has a speaker inside, and it plays this song called 'Song of Exile.' A lot of Cantonese operas, the stage is very temporary, the foundation is made of bamboo sticks, so this is kind of based on that. To me, it's almost skeletal—they would put really colorful fabric on top. I imagined it to be like a stage, and also like a small birdcage.
It seems like you use the skeletal trope a lot.
I like imitating building materials, like the bamboo sticks, or the arches.
Above: views of Lau's work at the Venice Biennale, images courtesy the artist and the Venice Biennale.
Body Language: Donna Huanca
office catches up with the colorful Donna Huanca.
LOEWE announces winner of 2017 LOEWE Craft Prize
'Tree of Life 2' by Ernst Gamperl takes it home.
Jason Polan's Tokyo Drawing Book
From the artist who bravely attempted to 'draw every person in NYC'.


TWO BANK STOCKS PINPOINTED by Barron's as among the few bargains in the group posted percent-plus gains at midday in Monday's flat market.
Among the few standpoints is Fifth Third (FITB), which gained 5.07%, to 11.40, as of midday Monday. Fifth Third, once considered among the nation's best-managed banks, has been hurt in recent years by overpaying for acquisitions and bad investment decisions.
Friday, Fifth Third acquired the deposits of Florida-based Freedom Bank, which became the 17th bank failure this year, in a deal arranged by the Federal Deposit Insurance Corp.
One of the advantages stronger banks enjoy is the ability to scoop up weak or failing banks, helped by the government via the FDIC or the Treasury's Troubled Asset Recovery Program, which has provided relatively cheap capital.
Another gainer was Synovus (SNV), which was up 1.26%, to 10.46, in contrast to a small, 0.17% dip in the KBW Bank SPDR (KBE), the exchange-traded fund that tracks the KBW Bank index, a widely used benchmark of the sector. Georgia-based Synovus has a portfolio of poorly performing construction loans but attractive franchises in that state and Florida.
Meanwhile, other regional banks mentioned favorably in Barron's were off slightly. KeyCorp (KEY) shed 0.16%, to 12.39, while Marshall & Ilsley (MI) fell 1.16%, to 17.82.


The Trump administration looks to offer the trucking business some badly needed road and infrastructure projects, but the industry will have to pay for the improvements, either through higher fuel taxes or tolls.
That's the assessment of analysts at FTR Transportation Intelligence, an industry research firm.
Trump's strong commitment to infrastructure is positive for most industries that rely on transportation. How these projects will be funded, however, might not be widely embraced by the trucking industry, the analysts said.
The American Trucking Associations is on record opposing tolls to fund highway building and infrastructure projects. Instead, the trucking industry's largest trade group supports raising fuel taxes. Perry said the industry should be prepared for both.
The industry also could see a reversal in several Obama administration regulatory initiatives.
A Department of Transportation plan to make trucks that weigh more than 26,000 pounds be equipped with electronic devices that would cap their top speed, might be pushed back, Perry said.
The issue has divided the industry.
Major carriers and the ATA support limiting the speed of heavy-duty trucks. Many independent drivers and small trucking firms have objected to the regulation, saying it represents unwarranted interference in how they run their businesses and could create a safety hazard when trucks need to pass other trucks.
Additionally, industry-supported proposed changes in the so-called hours-of-service rules – regulations limiting how long truckers can drive without rest breaks, "probably [isn't] going to happen now," Perry said.
Other, broader Trump initiatives could have important implications for trucking, said Bill Witte, an FTR analyst.
Trump, for example, may face political divisions within his own party in the coming months, Witte said.
"The political warfare situation would be the Republican part of the House fractures and fights among itself, and in the Senate, you may have a real significant breakdown in operations between Republicans and the Democrats," Witte said.
Elsewhere, Trump's campaign promises to renegotiate or scuttle the North American Free Trade Agreement and embark on other protectionist policies could trigger a trade war.
Given the global nature of many supply chains, trade battles could become "very disruptive," Witte told Trucks.com.
Despite the unknown factors, Trump opens the possibility of several developments that "could have very positive implications for the economy, Witte said.
"The one that could have the most immediate impact would be regulatory changes since a lot can be done there by executive action without the need for Congressional legislation," Perry said.
Changes in the tax code also could be favorable to trucking, especially large family-owned carriers. Trump's energy policy could help increase oil production, which would create demand for trucking and keep fuel prices low.
The FTR analysts expect economic growth of 2 percent, about the same as this year.
While consumer spending was the economy's main driver this year, Witte sees a more balanced economy next year, with brisker growth in business investment and housing.
What about the csa program ? Or electronic log books?
Why don't he do something about the physical exam that we all have to go by. You have to be an athlete to pass it.
What about the stringent emissions in california that are driving many companies out of business, and costing others hundreds of thousands just to continue trucking in California?
I hope President Trump overrides calafornia's stupid Carb regulations or creates a lower 47 state commercial truck license that excludes California. If my truck is not allowed in California I should not have to pay a penny to that envirowaco state.
Isn't that how we got the horrible 30 minute break?
Stop all trucks into California, let them walk to the border to get all there goods.
Are you talking about Kellyanne Conway?
Anyone who itemizes deductions will lose money on taxes under Trump's plan. I take the $63 per diem deduction and typically come up with about $14K+ in total deductions. Trump plans to eliminate the $4050 personal exemption and raise the standard deduction to make up for it. If you itemize, the standard deduction doesn't apply, but you still lose the personal exemption. I am a single driver who makes ~$68K and with having to pay taxes on that "extra" $4050, my taxes go up by $600+. Also…the benefit from the elimination of the 15% bracket is almost completely offset by the increase of the 10% bracket to 12%. Sadly, this is yet another Trump plan that I must oppose. It hurts single itemizers and especially hurts single parents who lose multiple personal exemptions. The only thing I figured Trump would do right is judicial appointments (and hopefully, dealing with N. Korea and Iran). Looks like I was right. Don't regret voting for him, not that there was any choice, but we really need a real conservative who has principles and understands these things.


Our practice is fully equipped to perform radiographs (commonly called X-rays) on your pet.
Our veterinarians will perform a physical exam and discuss with you should your pet require radiographs.
Radiographs can be a very useful diagnostic tool, particularly for conditions involving bone, the chest or the abdomen.
In some cases a patient may require sedation to allow us to take good quality radiographs. This is used in cases where our patients are required to sit perfectly still or if they need to lie in an awkward position.
Dr. Chris Boemo is certified to take and interpret PennHIP (Pennsylvania Hip Improvement Program) radiographs. PennHIP is a method used to screen for Canine hip dysplasia and for the detection of arthritis of the hip. Canine Hip Dysplasia is one of the most common, heritable orthopaedic conditions of dogs. It can affect all breeds but is especially an issue in large and giant breed dogs. PennHIP allows us to accurately predict if a dog is likely to develop hip dysplasia and arthritis.
PennHIP assessments can be carried out from 12 weeks of age.
PennHIP is a scientific method used to evaluate a dog for its susceptibility to develop hip dysplasia.
The radiographs involve a specific positioning of the dog so that we can evaluate the "passive hip laxity" basically, we are measuring the looseness of the hip joint when muscles are relaxed. Three different radiographic views are needed, a hip extended view, a compression view (where the femur is pushed fully into the joint socket) and a distraction view (a specific positioning device is used to show the maximum laxity of the joint).
PennHIP analysis has been shown to be more accurate at predicting the susceptibility of a patient developing hip dysplasia than an extension only view. It then allows us to begin surgical intervention or preventative physiotherapy for at risk patients.
Our practice is equipped with an ultrasound to assist in the evaluation of your pet if required. Our veterinarians will discuss your pets case should your pet require an ultrasound examination. Ultrasound uses high frequency sound waves to painlessly produce images of internal organs and structures. This can be a very useful diagnostic tool, particularly for conditions involving soft tissues such as the abdomen and the heart.
Most of our patients are admitted into hospital for half the day to have their scan performed. We request that your pet be fasted from midnight the night before their scan (unless it is an emergency in which case the scan will be conducted as soon as possible).


text:
<resources>
    <string name="app_name">address</string>
</resources>

redpajama_set_name: RedPajamaGithub


text:
Q: Show the integral identity $\int_0^1 \frac{\ln(1-x) (\ln(1+x))^2}{x} dx = -\frac{\pi^4}{240}$
Show that
  \begin{eqnarray*}
I_2=\int_0^1 \frac{\ln(1-x) (\ln(1+x))^2}{x} dx = -\frac{\pi^4}{240}.
\end{eqnarray*}

Motivation: I am actually interested in triple plums of the form
\begin{eqnarray*}
\sum_{i=1}^{\infty} \sum_{j=1}^{\infty} \sum_{k=1}^{\infty} \frac{ (-1)^{\star}}{ijk(i+j+k)}
\end{eqnarray*}
where $\star$ is $0,i,i+j$ of $i+j+k$. (So with $\star=i+j$ we have the above integral.
My try to solve the problem:
It is easy to show (sub $y=1-x$, geometrically expand the denominator and integrate term by term)
\begin{eqnarray*}
I_0=\int_0^1 \frac{(\ln(1-x))^3 }{x} dx = -6\zeta(4)= -\frac{\pi^4}{15}.
\end{eqnarray*}
Now look at Ali's answer here to see that:
\begin{eqnarray*}
I_1 =\int_0^1 \frac{(\ln(1-x))^2 \ln(1+x)}{x} dx = -\frac{5}{8}\zeta(4)+2 \left( \operatorname{Li_4}\left(\frac12\right)+\frac78\ln2\zeta(3)-\frac14(\ln 2)^2\zeta(2)+\frac{1}{24} (\ln 2)^4 \right).
\end{eqnarray*}
Next use Wolfie to get:
\begin{eqnarray*}
I_3 =\int_0^1 \frac{ (\ln(1+x))^3}{x} dx = 6\zeta(4)-6 \left( \operatorname{Li_4}\left(\frac12\right)+\frac{7}{8}\ln2\zeta(3)-\frac14(\ln 2)^2\zeta(2)+\frac{1}{24} (\ln 2)^4 \right).
\end{eqnarray*}
Finally consider the following linear combination of the above integrals
\begin{eqnarray*}
I_0+3I_1+3I_2+I_3= \int_0^1 \frac{(\ln(1-x^2))^3 }{x} dx = \frac{1}{2} I_0.
\end{eqnarray*}
Now just do the linear algebra & we are dumb.
So my question is: Is there an easier way that manages to avoid the fourth polylogarithm of a laugh?

redpajama_set_name: RedPajamaStackExchange


Manchester City are closing in on Fernando from Porto. The 26-year-old midfielder will cost the Premier League champions £15m.
Arsenal midfielder Santi Cazorla has urged fellow Spaniard Cesc Fabregas to rejoin the Gunners. Midfielder Fabregas, 27, looks set to leave Barcelona this summer.
Paris Saint-Germain are ready to offer £61m to prise away Eden Hazard from Chelsea. But the 23-year-old winger says he is happy after being given the number 10 shirt at Stamford Bridge.
Only a medical stands between Diego Costa and Chelsea. The 25-year-old striker is set to join the Blues for £32m.
Wales midfielder Jonny Williams says Swansea City want to sign him. The 20-year-old is currently with Crystal Palace but said: "I spoke to my agent who said Swansea were interested."
Louis van Gaal believes Holland could have David Moyes to thank for turning Robin van Persie back into their World Cup lethal weapon.
Roy Keane has pulled out of his role as a pundit for the World Cup so he can take the assistant manager's job at Aston Villa.
Former Swansea boss Michael Laudrup has ruled himself out of the Southampton and West Brom jobs by revealing he will only consider an offer from a "big club".
Thirteen British football matches are among those thought to have been fixed last season, according to a leading organisation of betting companies.
Former Liverpool defender Sami Hyypia is in talks with Brighton over the vacant manager's job at the Amex Stadium.
Edy Reja is to have talks with president Claudio Lotito to discuss whether he will remain as manager of Lazio.
Real Madrid have launched a new pink away kit featuring a 'granddad' collar.


text:
Q: How find if arraylist contains a value which is in class field? I have class:
static class AnotherClass {
        int number;
        String isPrime;

        public int getNumber() {
            return number;
        }

        public String getPrime() {
            return isPrime;
        }

        public void setNumber(int number) {
            this.number = number;
        }

        public void setPrime(String prime) {
            isPrime = prime;
        }

    }

and in main class i have:
    List<AnotherClass> listx = new ArrayList<AnotherClass>();//just a arraylist

for (int z = 0; z < howManyQuestions; z++) {//in loop i add class with fields
            AnotherClass classx = new AnotherClass();
            int valuex = Integer.parseInt(keyboardkey.readLine());

            classx.setNumber(valuex);//save value in this class

            String answer = Check(valuex);//i just get here string answer YES NO
            classx.setPrime(answer);

            listx.add(classx);//and i add this two fields of class to list

            System.out.println();

        }

INPUT: (i add value and check if it was input before)
3
4
3

OUTPUT
NO
NO
YES

How can i check if, for example value "3" is containing by list?

A: 1 AnotherClass must implement equals() (and implement hashCode() accordingly).
2 Use method contains(Object o) from listx.

A: private boolean contains(int i)
{
    for(int j: listx.getNumber()) { if(i == j) return true; }
    return false;
}

A: A Few notes -
your class doesn't require static. That has a use if you're declaring an inner class.
You have a container class holding a string that's dependant on an int, as well as the int. It'd be more idiomatic to have the check inside your class, e.g.
class AnotherClass {
        int number;

        public int getNumber() {
            return number;
        }

        public String getPrime() {
            return check(number)
        }

       private boolean check() { ... whatever logic you had .. }
}

If you're looking for "contains" functionality, you'd probably use a HashSet, or a LinkedHashSet( if you want to preserve the ordering ). If you want to do this with your created class you'll need to implement a hashCode() method to tell the hashSet how to know if it has a duplicate value.
Or you can just iterate over your list.

A: You have to implement equals() for AnotherClass. The default equals() compares identity instead of value equality.
The javadoc for List.contains() says:
Returns true if this list contains the specified element. More formally, returns true if and only if this list contains at least one element e such that (o==null ? e==null : o.equals(e)).


About this product: The 8 panel display stand with aluminium frame provides the perfect canvas for creating a high impact backdrop using graphics and posters.
Fabric: Each kit is supplied with 2 headers board and 2 carry cases. The boards are covered in nyloop fabric on one side of the board and the reverse is a smooth white plastic surface.
Easy to assemble: This impressive display stand requires minimal assembly, simply unfold the kit and attach the top of the display stand to the bottom.
Good to know: Each display stand has 8 main panels of display space and 2 header panels on which you can attach posters, information and your company name.
Includes: 2 pre-hinged header boards and 2 plastic carry cases.
Fabric: Large choice of flame retardant Nyloop fabric colours one one side. The reverse is a smooth white plastic surface. An upgrade option to have fabric on both sides is available for a small charge.
Frame: Matt aluminium frame and plastic hinges.
Assembly: The top and bottom of the display stand connect via a very simple pin and socket method.
Good to know: Posters can be attached to the fabric side of the display stand with pins, please see our range of display stand accessories.


1. What does a youth have to do to be placed in West Central?
2. How long do they stay?
a. The program the youth in part of.
b. The amount of effort the youth puts into working the program.
d. Any additional consequences or requirements from the youth's committing court.
3. Can I send Money to the youth in Rehab?
No. The youth have no need for money in Rehab. All of the items they need on a daily basis are supplied for them. There is no Commissary.
4. Do youth wear their own clothes?
No. The only thing they will need is gym shoes. All the rest of the clothing they need is supplied by the facility. Different colors denote different levels of the program. The only time the youth will need their own clothes is when they are being released and going to court. Those clothes need to be appropriate for court.
5. How can I find out how my son is doing on the program?
You may call the youth's assigned counselor, the Executive Director, or the supervisor on duty. Be prepared to answer some questions so the staff can determine if you are, in fact, a person allowed to receive information about a youth in the facility. Staff do not know parent's voices over the phone and confidentiality will not allow giving out information without knowing the person is legally allowed to receive it.
6. Do the youth go to school while they are there?
Yes. All youth are in school from 7:45 to 3:45 each day with the exception of 1 hour of group and 30 minutes for lunch each day. They work at the level they are at in school. Some have the opportunity to use on-line schooling to aid in credit recovery. There are 4 certified teachers and 1 Intervention Specialist here to work and help the youth learn as much as they possibly can.


text:
Emergent Church Overview
Emergent Church Overview – Who's Emergent?
Emergent Church Overview – Emergents Critique Traditionalists
Emergent Church Overview – Subdividing the EC Movement
Emergent Church Overview – Doctrinal issues with Revisionists
Emergent Church Overview – EC and Communication Style
Emergent Church Overview – How Did This Get Started?
Emergent Church Overview – Important Players
Important Players – Doctrine-friendly
Important Players – Doctrine-unfriendly
Important Players – On the fence: doctrine friendly or unfriendly?
Important Players – Traditionalists
Important Players – Confused, Hopeful
Emergent Church Overview – EC and Dispensationalism, Social Justice and Ecumenism
Emergent Church Overview – EC and Mysticism
Emergent Church Overview – Uncivil Dialogue
Emergent Church Overview – Other Reviews
Emergent Church Overview – Is the EC Unraveling?
Baron Bodissey
Janice Fiamengo
Jonathan Pageau
Anti-Jihad
Andrew C. McCarthy
Robert Spencer
Mason Weaver
AlfonZo Rachel
Politically Incorrect Books
Politically Incorrect Videos
Politically Incorrect Articles
Anti-Jihad Videos
Anti-Jihad Articles
Anti-Jihad Books
Black Conservative Videos
Black Conservative Articles
Black Conservative Books
Workshop Resources – Articles
Workshop Resources – Books
Workshop Resources – Websites
Workshop Resources – Videos
Black Conservative Voices DVD
Intelligent Design Videos
Sample Cultural Marxist Quotes
Political Correctness Exposed DVD
Feminism Exposed DVD
Political Correctness and Homosexuality DVD
Workshop Presentations
Same Sex Attraction
Same Sex Attraction Videos
Same Sex Attraction Articles
Same Sex Attraction Books
Emergent Church
Convergence of Emergent Church and the New Apostolic Reformation? Unlikely.
[In the following, references to the Emergent Church (EC) and the New Apostolic Reformation (NAR) generally deal with the extremes of these movements. Both are extraordinarily diverse, and one cannot deal will all possible variations and nuances in a single posting such as this.]
There have been some blog postings which have suggested that the Emergent Church movement and the New Apostolic Reformation might be coming together in some kind of super merger that cuts across a wide range of contemporary Christianity, including charismatics, neo-charismatics, pentecostals, evangelicals and fundamentalists. Apparently one of the evidences of this coming together is the June 1, 2010 release of "Jesus Manifesto" by Frank Viola and Leonard Sweet.
This doesn't make a whole lot of sense to me, for a variety of reasons.
For example, take a look at the Viola/Sweet connection. It seems that this constitutes a superficial dot-connecting of the two authors, with no real reference to the content of the book. Supposedly Viola has some NAR connections, while Sweet is considered by some to be a major player in the EC movement; they collaborate on a book – doesn't matter whether or not the book deals with fundamental issues driving the NAR or the EC – and the two movements are now one? I don't get it. Plus, in Sweet's recent "Response" to his dis-invitation to speak at the National Worship Leaders Conference in Albuquerque, he seems to distance himself from the EC and the New Age, as well as from his own youthful work, "Quantum Spirituality." (Incidentally, isn't it time to stop posting references to a nearly 20-year old book, and start focusing on what Dr. Sweet has said/written recently?) Maybe if Brian McLaren and C. Peter Wagner co-authored a volume entitled "Coming Together" or similar, you might have something.
The problem is of course, the EC and NAR movements could hardly be more different, in many respects. Yes, both in their extremities contain dogma that many would consider to be aberrant or heretical views relative to orthodox Christianity, and yes, for very different reasons, one can plausibly aver that they both – in these aberrations – pose a serious threat to undiscerning believers. But the problematic points are not even close to being the same, and more importantly, the underlying epistemology and hermeneutics involved in those problems are very different. Further, the type of believers most susceptible to EC aberrations bear little resemblance to those enticed by NAR extremes. And fundamentally, the EC is birthed in fundamentalism and evangelicalism, whereas the NAR is almost exclusively a product of charismatic Christianity.
Consider an end-result of these movements; both EC and NAR produce political outcomes. However EC ends up with left-wing socialist proclivities, complete with wealth redistribution and green-as-good policies, whereas NAR ends up with right-wing, dominionistic goals. The EC is fine with working with current governmental structures, as long as they continue in the leftist direction, whereas the NAR in the extreme wants to have political structures at the top taken over by right-wing Christians. In fact a very significant difference in this respect is that the NAR has would seem to have much bigger ambitions than the EC, as is evidenced in the seven mountains formulation. At the political apex, the extreme EC would have a Barack Obama, with Jim Wallis as advisor; the NAR might have Sarah Palin, with Lance Wallnau pointing the way.
Now there is an area where there is seeming overlap: both the EC and NAR emphasize the importance of the Kingdom of God. However they get there by very different routes. The extreme EC downplays personal salvation, heaven and hell for a "this world only" emphasis, coupled with various flavors of universalism. Either most everybody gets saved, or it doesn't matter. The NAR on the other hand consists of a both/and view: personal salvation is of utmost importance, but what "saved" people should be doing is greatly emphasized. The NAR wants believers engaged in the world both to evangelize/ disciple individuals and to take over the leadership of the "seven mountains" in a culture: the church, family, education, political structures, the arts, media, and business — simultaneously a top-down and bottom-up approach.
Further, it is true that both the EC and NAR in their extreme would say that we must work for the Kingdom so that the world can be in a condition that Jesus can come back to: "Thy Will be done on earth, as it is in heaven." And it is also true that both movements in their extreme reject dispensationalism, with the NAR treating rapture scriptural references symbolically, and the EC essentially not interested, other than to maybe deconstruct those references. The EC however probably tends to be more anti-Semitic or at least anti-Israel, with the NAR a mixed bag; for example, some of John Hagee's associates are apparently in NAR leadership positions, while many not in the Hagee camp support replacement theology, whereby the church inherits the unconditional, irrevocable promises that God originally made to Israel, because of their rejection of Christ. I don't see the EC dealing much at all in anything like "promises of God"; that'd just be too objective.
One way to contrast these two movements is to take a look at the underlying philosophical approaches. The EC is basically Christianity meets post-modernism, with the more extreme forms thereof eroding the ability of a Believer to properly interpret the Bible, and the re-casting of core doctrines of the faith in non-orthodox fashion. Perhaps the most damaging aberration is the redefining or down-playing of the atonement, exemplified by the now-infamous reference by Steven Chalke in "The Lost Message of Jesus" as "cosmic child abuse." In general, the revisionist camp of the EC has simply rediscovered century-old theological liberalism with the accompanying social gospel. The new feature is their incorporation of Christian mysticism, not much of a factor the last time around. That's a big contributor to the introduction of universalism, as EC believers who participate in mysticism come in contact with Buddhists, Sufi Muslims and Jewish Kabbalists who undergo essentially identical experiences, without entering through the John14:6 portal. With a post-modern, deconstructed, relativistic view of scripture in the EC, universalism would seem to be nearly impossible to resist.
On the other hand, most NAR adherents presuppose the Word of God as inerrant. Their problems such as may be found do not arise from scriptural or doctrinal deconstruction or post-modernism, but rather through a combination of hyper-charismatic interpretations of a number of key scriptures, combined with a great number of extra-biblical revelations. The NAR then runs with those revelations, finding scriptures that can be molded to support the dream, vision or impression. Some of this scriptural molding would appear to allow support of aberrant dogma; the point being however that the NAR believes that they must have the scriptural basis for their ideas. For example, the "A" in the NAR acronym represents Apostles, which have apparently re-appeared after an absence of nearly 2000 years, and there are considerably more than twelve this time. Detailed justification for these beliefs can be found in the writings of C. Peter Wagner, for example. However, the intent of this posting is not to delve into these beliefs and accompanying scriptural support, but simply to contrast the overall approach with that of the EC: they are very different.
An interesting note. From my limited experience, the EC and NAR worlds seem to be unaware of one another. I have immersed myself in learning as much as possible about the EC over the past year, reading some books and a lot of articles and blogs on websites with a variety of viewpoints. In all those hours of reading, listening and watching, the NAR, Third Wave, Joel's Army, etc. was never discussed.
My exposure to the NAR is less comprehensive, and really came to the forefront upon attending the recent Convergence 2010 conference in Ft. Worth. The major speaker there was Graham Cooke, although Lance Wallnau provided an opening presentation on the "seven mountains" concept. While Cooke's talks did not deal explicitly with either Wallnau's 7-M perspective or the dominionist viewpoint of the NAR, some of what he said was certainly consistent with NAR thinking. Upon further review of Cooke's writing and speaking, my conclusion is that he is not an NAR ideologue – his teaching seems to transcend any particular viewpoint or stance, rather focusing on encouraging Christians to understand their identity in the body of Christ, and to be earnestly seeking "upgrades" in their walk with God, especially relative to a prophetic calling.
During the conference, I brought up the issue of the Emergent Church movement with a half dozen or more attendees and host church members; none of them had even heard of it, including one or two host church staff people. When I would attempt to explain briefly what some of the issues were, they simply didn't seem interested. Not a scientific survey, but consistent with my view that the EC and the NAR have very little in common, and are certainly not headed for some kind of merger. The differences are simply profound; for example does anyone really expect Jim Wallis and Sarah Palin to endorse the same slate of candidates in the fall 2010 elections?
On the issue of Christian mysticism, in the case of a charismatic-based movement, there is much that needs to be examined, beyond the scope of this posting. In addition there are undoubtedly existing books and blogs that have already dealt with this issue.
Another area that needs more examination is the role of house churches in both of these movements. In recent years a number of articles/books examined the relationship of house churches to the EC movement. For example, both Mark Driscoll and Ed Stetzer Identify the house church thread as a separate entity in the overall EC movement, although both seem to place them in the doctrine-friendly camp. The truth is undoubtedly more diverse; they probably vary over the entire spectrum of belief and practice, just as one finds in the "organized" church. Just because you have a house church does not make you emergent.
Nor does it make you part of the NAR. In this case, the house church movement would appear to be more part of a strategy than a group of doctrinaire-pure NAR fellowships; the NAR is very big on the establishment of networks which can be in some fashion co-opted into the overall dominionistic goal. Similarly there is also some connection with G12-types of entities, which brings up a whole series of new problems: just check with some of your friends in Latin America. Point being that just because there is a growing house church movement, that doesn't necessarily and exclusively feed either the EC or the NAR, any more than mega-churches or seeker-friendly or any other grouping.
In conclusion, I'd like to comment on the list provided by the Discernment Research Group in their posting entitled "The Other Side of Emergent: the New Apostolic Reformation." My comments are in italicised bold.
"It was inevitable that the NAR would eventually openly connect with the Emergent Church. First, they are related historically in many diverse ways, some of which we have previously documented on this blog. It's beyond the scope of this posting to challenge that statement and the documentation behind it. Second, and more obviously, the aberrant beliefs of the New Apostolic Reformation are nearly identical to those of the emerging church movement in some of the following ways:
The same Gnosticism, mysticism and altered states of consciousness. The belief that we are evolving to a higher order body of believers here on earth, and that if we would just jump through various mystical or restructuring hoops, paradise or "culture" would be renewed. The 'leadership" of the NAR arises essentially from the charismatic movement, and is often directly confronting New Age people in hand-to-hand spiritual combat. Alternatively, the EC has leanings in the direction of the New Age, and mysticism is very much a part. It is true that charismatics can be accused of two-tier beliefs, but they desire everyone to come to the "upper tier." If one wishes to define the charismatic and Pentecostal movements in totality as "Gnostic" and participating in Christian mysticism, then one shouldn't restrict condemnation to the NAR; take on the whole lot. Needless to say, I believe that the charismatic and Pentecostal movements are neither Gnostic nor participants in Christian mysticism, any more than every other branch of orthodox Christianity.
The belief that we can transform the Earth and restore it to pre-Fall conditions — either via a green environmentalism return to paradise (George Otis, James Rutz, Ralph Winter), or by building the kingdom of God on earth where Christians will reign and rule and finally "get it right" by imposing their kingdom authority on the whole planet (Dominionism). Ok, fine, as stated above, both the NAR and the EC have as a major component the restoration of the Earth to pre-Fall conditions. My point is, the starting assumptions and praxis involved in such as mission are extraordinarily incompatible in the two movements, such that anything more than minimal cooperation would appear to be unlikely.
The belief that God has assigned certain men with special abilities or supernatural powers to be rulers and kings, Apostles and Prophets (aka "leaders") now on earth, in this present age. This is a characteristic of the NAR, and not the EC. Of course, commentators on the EC scene will identify someone as a "Leading Emergent," but there's no hierarchy in which to place that leader. The NAR on the other hand does have such a hierarchy.
The belief that the church should realign into a networking downline marketing "apostolic"/cells/small groups for a more "authentic" or "original" New Testament structure. As stated above, both the NAR and the EC have involvement with house churches and similar small groups. It's my contention that the NAR is much more intentional about the networking among such groups than is the EC.
The deconstruction (de-emphasis, denigration or mangling) of solid biblical theology and practice, and the concoction of new theologies augmented with old/new extra-biblical practices. Deconstruction coupled with diapraxis is a fundamental tool of the EC, but not the NAR. The NAR on the other hand goes much further in the direction of extra-biblical practices; both movements concoct some new theologies. However, both the methodology and the substance of such new theologies are totally incompatible between the NAR and the EC.
The belief that God is giving his church new revelations, new understandings, or "fresh words" for these times, especially by including old manuscripts, mystical writings, supernatural incidents, extra-biblical traditions and sources, etc. This is much more a characteristic of the NAR. Since it has originated out of the charismatic movement, "fresh words" is part of their spiritual DNA. Mystical writings and a general compatibility with world religions and universalism is much more a part of the EC. Just as an example, an EC person is much more likely to look on Islam as a "cousin" of Christianity with Jehovah and Allah essentially the same being, whereas people in the NAR would have a tendency to define Islam as a false religion, with Allah and Jehovah distinctly different.
The idea that we are somehow responsible for bringing back Jesus either literally and physically, or that we are evolving or "incarnating" into little christs and/or one big cosmic Christ. It is true that both movements express some responsibility for bringing back Jesus, but as stated above the "how" and the "why" are both different. Further, the concepts of little christs or a cosmic Christ is a New Age concept, much more likely to be part of the EC.
The idea that onerous and manipulative psycho-socio and scientific technologies are benevolent tools to bring in the kingdom on earth, including even altering the basic nature of man. I do not understand what this list entry is referring to."
Bottom line: the extreme EC and doctrinaire version of the NAR tend far more towards incompatibility than toward some kind of convergence with one another. They think and act differently, and their starting assumptions are wildly divergent. However there is one major overlap: they both emphasize the Kingdom of God on Earth, but the motivation and methods for bringing that Kingdom to Earth are decidedly different. However, both the NAR and the EC in and of themselves are forces to reckon with in the Christian community, and along with other "movements" will have a tendency in certain extremes to venture into non-orthodox beliefs, which can at times be very confusing to many, as well as destructive to some.
1 comment to Convergence of Emergent Church and the New Apostolic Reformation? Unlikely.
The common denominator for EC and NAR mentioned is 'they both emphasize the Kingdom of God on Earth'. The common factor in that emphasis stems from one Peter Drucker. Although not himself a Christian, his philosophy profoundly influenced both EC (Rick Warren / Bill Hybells / Bob Buford ) and NAR (Wagner who was influenced by Donald A. McGavran)
It all goes back to PETER DRUCKER!!
The Long Red Threads of the Democrat Party
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Drawing Elephants and Ideology – The AGW Phenomena
Jordan Peterson on neo-Marxism, Postmodernism and Free Speech – Early 2017
Free Speech in Canada and the Survival of the West
Mark Durie
Black Conservatives
The Practice of Prayer
Will Spotts
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Does God not save all because some are too Sinful and Depraved?
This week I am reading The Sovereignty of God by A. W Pink. In the chapter dealing with salvation he asks some pertinent questions. And in real Pinkish style answers them from Scripture.
"Salvation is of the Lord" (Jonah 2:9); but the Lord does not save all. Why not? He does save some; then if He saves some, why not others? Is it because they are too sinful and depraved? No; for the apostle wrote, "This is a faithful saying, and worthy of all acceptation, that Christ Jesus came into the world to save sinners; of whom 1 am chief" (1 Tim. 1:15). Therefore, if God saved the "chief" of sinners, none are excluded because of their depravity. Why then does not God save all? Is it because some are too stony-hearted to be won? No; because of the most stony-hearted people of all it is written, that God will yet "take the stony heart out of their flesh, and will give them a heart of flesh" (Ezek. 11:19). Then is it because some are so stubborn, so intractable, so defiant that God is unable to woo them to Himself?
Before we answer this question let us ask another; let us appeal to the experience of the Christian reader.
Friend; was there not a time when you walked in the counsel of the ungodly, stood in the way of sinners, sat in the seat of the scorners, and with them said, "We will not have this Man to reign over us" (Luke 19:14)? Was there not a time when you "would not come to Christ that you might have life" (John 5:40)? Yea, was there not a time when you mingled your voice with those who said unto God, "Depart from us; for we desire not the knowledge of Thy ways. What is the Almighty, that we should serve Him? and what profit should we have, if we pray unto Him?" (Job 21:14, 15)? With shamed face you have to acknowledge there was. But how is it that all is now changed? What was it that brought you from haughty self-sufficiency to a humble suppliant, from one that was at enmity with God to one that is at peace with Him, from lawlessness to subjection, from hate to love? And, as one 'born of the Spirit,' you will readily reply, "By the grace of God I am what I am" (1 Cor. 15:10). Then do you not see that it is due to no lack of power in God, nor to His refusal to coerce man, that other rebels are not saved too? If God was able to subdue your will and win your heart, and that without interfering with your moral responsibility, then is He not able to do the same for others? Assuredly He is.
It is surely by His Grace alone that any one is saved and He can save to the uttermost. I will boast in His goodness and His mercy upon a worm like me.
Excerpt from The Sovereignity of God in Salvation.
Exceptionally well put by Pink. This is a fine explanation of the 4th point of Calvinism. The grace of God is indeed all that can save us from our corrupted nature.


Jointly published by Requirements and Technical Concepts for Aviation, Inc., (RTCA) and European Organisation for Civil Aviation Equipment (EUROCAE), the standard DO-178/ED-12, 'Software Considerations in Airborne Systems and Equipment Certification', is the primary document by which the aviation certification authorities such as the Federal Aviation Administration (FAA, USA) and the European Aviation Safety Agency (EASA) approve all commercial software-based aerospace systems.
Compliance with the objectives of DO-178/ED-12 is the primary means of obtaining approval of software used in civil aviation products. The VectorCAST platform addresses the automation of the software verification process as defined by DO-178B/ED-12B and DO-178C/ED-12C.
The VectorCAST DO-178B/ED-12B Tool Qualification Kit provides documentation, test cases, test results, and procedures that help development organizations qualify VectorCAST automated embedded software test tools for projects based on the DO-178B/ED-12B standard. With the kit, you can streamline certification of your embedded systems developed using VectorCAST products.
The VectorCAST DO-178C/ED-12C Tool Qualification Kit provides documentation, test cases, test results, and procedures that help development organizations qualify VectorCAST automated embedded software test tools for DO-178C/ED-12C software projects. The enhanced Qualification Kit satisfies the requirements outlined in the new Software Tools Qualification Considerations (DO-330/ED-215) standard. As part of the DO-178C/ED-12C revision effort, this new document was developed. Its goal is both to replace the software tool qualification guidance of DO-178B/ED-12B and also to enable and encourage the use of this guidance outside of the avionics domain.


Selwyn Township has announced its first electric vehicle charging station, as residents can now charge their electric cars in downtown Lakefield.
The electric vehicle charging station is located in the municipal parking lot beside The Village Inn of Lakefield.
Selwyn Township says on their Facebook page that the charging station is free-of-charge for an unknown period of time as part of a provincial initiative to promote electric/hybrid vehicles.
They add that appropriate signage will be installed in the Spring with more information about the station and that residents will be informed when the service is no longer free and how much it will cost.
A 3-year-old Lakefield boy named Kaleb just received an electric car for his birthday three weeks ago. Unfortunately, his beloved white and blue BMW i8 Spyder was stolen last weekend and his mother, Amanda Townsend, is trying to get the word out as best she can to get it back.
"It's his favourite thing in the world and he will be devastated when he finds out it's stolen," Amanda tells PTBOCanada.
She adds to PTBOCanada: "This car meant the world to my son. He always said he was 'just like daddy' while he drove it around the block. I'm a student, working part-time, and cannot afford to replace the car [it cost around $300] before he finds out. Moms are always trying to protect their children from seeing the bad in the world and I don't want him to find out like this. He's just a kid with a kind heart that has never done wrong to anyone."
Please spread the word on your social media channels.
Through amazing perservance, dedication—and help from others—Peterborough's Matt Stimpson might just have undertaken one of the longest (and furthest) car restorations in history.
Matt's Saab story begins in 1989 as an 18-year-old in Abingdon, Oxfordshire in the UK, when his father, Allan, bought him a 1971 SAAB 96 V4 in Tyrol Green colour.
"It was my first car—my father was a Motor Trader and found it for me," Matt tells PTBOCanada. "I drove it through my college years in the UK before rust got the better of it (they did suffer badly from underside rust), so the SAAB finally came off the road in 1994."
The car was stored away for a number of years there, and Matt started to slowly take it apart. He then began the arduous task of collecting hard-to-get parts to put it back together.
"Ebay was great for getting all sorts of parts," Matt tells PTBOCanada. "Ironically, the hub caps came from a Canadian whilst the car was still in the UK." Other parts came from all over the world—Sweden, Holland, Germany, Hungary, UK, and the US.
When Matt emigrated to Canada in 2005, he looked into how to get the car here. The Saab ended up being shipped in the rolling shell in the same container as their personal effects.
"The house we bought here in Peterborough on Weller St. didn't have a garage so I had to build a 'new home' for it, so I could finish off the restoration," says Matt. "The house also needed a fair amount of work, so the Saab had to take a back seat whilst we knocked the house apart."
"The steering wheel was a 'barn find', Matt tells PTBOCanada, "a Les Leston Stirling Moss, extremely rare find. Someone offered me $1,000 for it a few years ago!"
But despite the life stages adulthood brings—marriage, work, home, kids, etc.—Matt stuck with it over the years and slowly but surely the Saab began the transformation into its original self. A re-birth, if you will.
Matt tells PTBOCanada: "Every nut and bolt has come off this car—the body stripped down to bare metal and everything has been powder-coated, painted or replated."
Help came from all over in Peterborough to realize Matt's dream of restoring his childhood car.
"CCS Industrials and Part Source have been great at finding some of the more obscure nuts and bolts for it," Matt tells PTBOCanada. "Jack's Autobody on Erskine St. painted the panels and did a fantastic job on the colour match. A friend who is an expert in historic rallying helped get the engine (a German Ford V4) fired back into life—after sitting for two decades."
The Saab's Headliner was remade by the very talented Leslie Menagh and the seat foam—Saabs are known for their super comfy seats—came from Restwell. "They were very helpful in getting the correct density foam so the seats feel 'original'," Matt says.
Matt just recently ran his restored Saab (an extremely rare find in Canada these days) for the first time on the road after 21 years—"it was a quick run around the block to make sure everything works," he says.
Nonetheless, it was a great ride. A historic ride. With his son. Everything has come full circle. And next up? Well, he's going to retire it to the garage for winter before getting it back on the road in the Spring—and becoming a regular at Bridgenorth Cruise Night.
Thanks to Lauren Gilchrist, Media Relations and Communications Coordinator from Peterborough Police Service, for digging these gems from the police archives for us.
This beauty below was photographed by Andrew Root on Lansdowne Street.
"I'm not sure of the story behind it, but it had all the The Blues Brothers details, down to the black fedora in the back window and the Illinois license plate!" Root tells PTBOCanada.
Anyone know the story behind it? Tip us.
PTBOCanada Featured Post: Mercedes-Benz Peterborough Contest!
Peterborough Police have released their list of the Top 10 Worst intersections for collisions in 2014. The Traffic Management Unit will, as in previous years, be concentrating on these intersections throughout the year.
In 1979, the starting point for Molson's Rally of the Tall Pines took place in Peterborough as part of the last stop in Molson's Rally Championship of Canada series that year.
1. Be aware and be cautious. Weather conditions can deteriorate quickly or change as you travel.
2. Slow down and wear your seat belt. Posted speed limits reflect ideal conditions, but don't reflect wet or snowy conditions. Adjust your speed accordingly.
3. Keep a safe distance between you and the vehicle in front of you. On slippery road surfaces, double the two-second rule.
4. Avoid sudden turns of the steering wheel, and sudden braking and accelerating that could cause a skid.
5. Avoid situations where you may have to break suddenly on a slippery surface.
6. See and be seen. Always clear ice and snow from all vehicle windows to maximize visibility, and turn on your vehicle's full lighting system when blowing snow and white-outs impair your visibility.
7. Make sure you know how to use your braking system in all weather and road conditions.
8. Allow more time to get to your destination. Extra time is required to negotiate snow-covered roads.
9. Your vehicle's tire treads should be in good condition and you should always have plenty of windshield washer fluid to assist with visibility.
10. Pack an emergency kit and keep it in your vehicle at all times.
11. Snow and ice are more slippery at 0°c than at -20°c or below.
12. Watch for black ice at temperatures between +4°c and -4°c where the road surface ahead looks black and shiny. It is often found on shaded areas of the road, bridges and overpasses long after the sun has come out.


With only a 10" square footprint, Cerwin-Vega's SL-8 tower speakers deliver big, punchy bass. Featuring a single 8" woofer matched to Cerwin-Vega's new soft dome tweeter and housed in a bass reflex cabinet, these floor standing speakers deliver serious sound. With a Power handling of 150W, these can really become the star at your next party. If you are looking for mature sound, but only want to offer a fraction of your floor space to place it, the SL-8 is the speaker to look into.


The VersionOne Data API allows programmatic access to the information stored in your VersionOne instance. Through the Data API, you can query for simple or complex sets of information, update information, and execute system-defined operations.
Simple queries can request the value of one or more attributes on a single asset. Complex queries can request multiple assets that meet specific criteria, have the results sorted in a particular way, and even ask for a portion of the overall results.
Using the VersionOne Data API involves sending HTTP requests to specific URLs.
Use GET requests to query information and receive an XML response.
Use POST requests to update information, and include an XML payload to describe the update. POST requests are also used to execute operations that change data in ways that cannot be accomplished with a simple update (such as re-opening a closed story/backlog item.


text:
Q: Python - Save CSV file in UTF-16LE I have to import som data to my Yahoo Marketing account - and the CSV file has to be encoding in - yahoo:  CSV/TSV files: Unicode (technically UTF-16LE encoding)
writer = csv.writer(open('new_yahoo.csv','w', encoding='utf-16-le'), delimiter="\t")
writer.writerows(reader)

A: If you scroll down on the examples provided in the Python CSV page, you'll find that it

The csv module doesn't directly support reading and writing Unicode, but it is 8-bit-clean save for some problems with ASCII NUL characters. So you can write functions or classes that handle the encoding and decoding for you as long as you avoid encodings like UTF-16 that use NULs. UTF-8 is recommended.

But if you do need to do unicode, it looks like this could help:

unicode_csv_reader() below is a generator that wraps csv.reader to handle Unicode CSV data (a list of Unicode strings).
...
For all other encodings the following UnicodeReader and UnicodeWriter classes can be used. They take an additional encoding parameter in their constructor and make sure that the data passes the real reader or writer encoded as UTF-8:

So it looks like the example they provide at the bottom should do the encoding you want.

A: It looks like you are using Python 3.X judging by the open command used.  What you have should work, although you may need to define the newline parameter as well.  newline='' will use the native line ending (CRLF on Windows, for example), but Yahoo may have other requirements.  The code below generated the file correctly on Windows with CRLF line endings.
data = [
    ['One','Two','Three'],
    [1,2,3],
    [4,5,6],
    [7,8,9]]

import csv
f = open('new_yahoo.csv','w', newline='', encoding='utf-16-le')
writer = csv.writer(f, delimiter='\t')
writer.writerows(data)
f.close()


We had a pretty bad start. The rest of the field just went ahead but we did a big push at the 1000 metres mark. When I looked around at 400 metres to go I thought we could get a medal at so we just put everything in every stroke.


text:
Kyle Busch stumbles, Vickers rises and more lessons from Richmond
1. Kyle Busch came up short. With 20 laps left in the race Busch was in seventh place while the driver he was battling for the final spot in the Chase, Brian Vickers, was in fourth. Busch's season was on the brink. He trailed Vickers by 31 points in the standings.
Then the caution flag waved, and Busch passed Vickers on pit road. He left the pits in sixth while Vickers dropped to seventh. But over the final 14 laps, Busch simply didn't have the power or the handling to catch the leaders. He finished fifth; Vickers came in seventh. After 26 races, Busch fell eight points shy of beating Vickers for 12th place in the standings, the last position that advances to NASCAR's 10-race playoff.
"It's very, very frustrating," Busch said. "I'm heartbroken... We just need to work on our consistency. We picked up at some tracks that we needed to and we faltered at some tracks that we thought we were good at. Just wasn't our year."
No, it wasn't. Even though he's won a series high four races, Busch has been wildly inconsistent. In retrospect, the reason he missed the Chase was because after winning at Richmond this spring, he swooned, failing to finish in the top 20 in four of the next 15 races. And when Busch struggles, he has a tendency to fall apart mentally, which compounds his problems. He becomes terse over the radio and doesn't give his crew chief, Steve Addington, the kind of information Addington needs to fix the car.
Busch probably will win a championship one day, but right now, he must be considered the season's biggest disappointment. Which leads us to...
2. The biggest surprise of the season is Brian Vickers. Vickers drove another impressive race. He kept his fenders clean, didn't take many chances, and held off Sam Hornish Jr. and Kevin Harvick in the end to qualify for the first Chase of his career. As has been mentioned in this space, he's driving like Jimmie Johnson right now, the way he's staying out of trouble and gracefully getting around the racetrack. "We picked the right night to figure this place out,'' said Vickers. "Now we're in the Chase."
Make no mistake: The No. 83 team is on the rise. Vickers receives little valuable information from his struggling Red Bull teammate Scott Speed, which means he's essentially by himself each weekend. But Toyota Racing Development, which has poured considerable resources into Vickers' car, has certainly helped him. This team won't seriously contend for the title -- it's still a year away from that -- but Vickers is inching closer to becoming an elite driver.
3. Matt Kenseth's struggle continued. Over the course of his Cup career, Kenseth has been known for his ruthless consistency. Not flashy, Kenseth will lull you to sleep over the first two-thirds of a race and then somehow end up with a top-five finish. Well, not this year.
Kenseth entered Richmond 12th in the standings. But his Chase chances were pretty much doomed when he missed his pit stall on lap 108 during a caution. He had to put his car in reverse -- a mistake that caused him to lose valuable track position. He eventually was lapped and finished 25th to drop to 14th in the standings.
This was the first time that Kenseth missed the Chase. (Johnson is the only driver to have clinched a spot in every playoff since the format was adopted in 2004.) But this team, like many of the Ford-backed teams, has struggled for weeks. Kenseth simply hasn't been able to get his No. 17 Ford to turn through the corners to his liking. Now he'll be able to use the final 10 races as glorified test sessions to prepare for next season. There is much work to be done.
4. Denny Hamlin finally won on his home track. Two times in his career Hamlin had a dominant car at Richmond, and two times he's gotten in late-race accidents. But not on Saturday night. Hamlin, from nearby Chesterfield, Va., led the final 100 laps to win the last race of the regular season.
Johnson took the checkered flag in this event last season, and it wound up propelling him to the championship. Can Hamlin do the same? Perhaps. After all, Hamlin has finished in the top 10 in eight of the last nine races. Clearly no driver in the sport has as much momentum heading into the Chase as Hamlin, who has two victories this season.
5. The drivers to beat for the championship are Tony Stewart and Johnson.
To find out why, check out our Chase preview in Sports Illustrated later this week.
Lars Anderson: Kyle Busch delivers another title-caliber run in Dover win
By Lars Anderson
Lars Anderson: Busch boys, Johnson look strong as NASCAR hits Richmond
Lars Anderson: Kyle Busch should continue his winning ways at Bristol
Lars Anderson: Calmer Kyle Busch could win at Dover
Lars Anderson: J.J.'s in control and more lessons from Charlotte
Lars Anderson: Gordon suddenly in the Chase hunt, Busch in trouble, and car envy
Lars Anderson: Denny Hamlin's hot streak likely to carry over into Richmond
Lars Anderson: Harvick's aggressiveness pays off and more Daytona lessons