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Tag Archives: David Kalat
Blog, Review
Das Cabinet Des Dr Caligari: Blu-ray and DVD review
September 27, 2014 PH	2 Comments
The Cabinet of Dr Caligari (1920)
Just because a film has proved to be massively influential, it doesn't follow that it will look modern. For evidence, I present Das Cabinet des Dr Caligari (1920) – without which, the movies that followed could look very different, but which barely cares to look like a movie at all. I'm exaggerating, which itself is very Caligari, of course, but watching the gamechanging new restoration of this cinematic titan, I am struck by how much of its power comes from the arts of set-painting and stage-blocking rather the magic of the moving pictures.
Although there are some eyeline cuts, irises, close ups and unsettlingly low-angled shots, Caligari heart belongs to its theatrical forebears. When I heard that this film had been restored, even when I saw the first YouTube clips of the work that had been done to bring crispness, brightness and vibrant, slick colour back to Caligari, I didn't appreciate what all that labwork would reveal. This is Caligari the spectacle, a testament to design and showmanship – a world away from the current trend in horror cinema to ramp up the realism and immerse the audience in a grey and gruesome world.
Das Cabinet des Dr Caligari (1920)
Watching this Blu-ray, you can make out each brushstroke on the canvas backdrops, the clumps of white powder in the Doctor's hair, Lil Dagover's spidery painted-on eyelashes. Lean in, you might just be able to lick the greasepaint off the screen. The power of Caligari, of course, is that it's no less terrifying for being artificial. In the same way that the framing story in the asylum, which was tacked on to make the film less scary, actually contains some of the film's most disturbing scenes, Caligari's high-concept design strategy is so daunting as to be horrifying. There's a lengthy, and very useful excerpt from Lotte H Eisner The Haunted Screen in the accompanying booklet and her summary of the power of Expressionism bears repeating:
Continue reading Das Cabinet Des Dr Caligari: Blu-ray and DVD review →
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DVD, Review
Nosferatu (1922): Blu-Ray & DVD review
November 17, 2013 PH	4 Comments
Nosferatu (1922)
Fresh from a theatrical release and a flurry of Halloween shows, Nosferatu springs into life on Blu-Ray, courtesy of Eureka's Masters of Cinema label. This new release is an update of the label's previous DVD, but features the Symphony of Horror in gleaming 1080p glory, with a handful of new features as a bonus prize.
This is a precious object then, a totemic silent film in beautiful packaging and supported by more supporting material in the form of articles, audio commentaries, interviews and documentary footage than you could possibly expect. Apparently, there has been more work done to improve on the 2007 restoration – if you've seen this in the cinema already you know how pristine the prince of darkness looks here. And that is so important. Nosferatu is far more than shadows. Arguably, rewatching Nosferatu on Blu-Ray at home, rather than at an amped-up and spooky live show, you enjoy its gorgeousness rather than the horror thrills: those painterly landscapes in their pastel tints. There's nothing like the black-white-red-purple palette of modern gothic horror here – which keeps the film fresh but always uncanny. The music helps, too. The score from Nosferatu's first run plays up the prettiness and romance – until it can't hold out any longer.
Do we need to recap? I'll do this at high speed, like Orlok's spectral carriage dashing through an ethereal white forest. Nosferatu is an adaptation of Bram Stoker's Dracula, in all but name, with the action transferred to Germany. Max Shreck is the snuggle-toothed vampire Orlok, the young and preternaturally talented FW Murnau sits in the director's chair. The movie was produced and designed by Albin Grau, an artist with a keen interest in the occult. And it's brilliant: both beautiful and terrifying. A horrific spooky story, with eerie contemporary import. Remember that Europe has just come out the other side of a world war and a brutal flu epidemic, then look again at the devastation wreaked by Orlok here.
In fact, even if you've never seen a second of Nosferatu, you'll know its most famous shot: Orlok's hunched shadow stretching up the wall as he climbs the stairs. That shot has became a visual shorthand for horror, for imminent danger. It's remarkable, by contrast with all the films that have appropriated the stair shot, that Murnau's Nosferatu avoids any such shortcuts: turning leafy landscapes into places of horror, playing violence as romance, and romance as violence. Nonagenarian special effects such as Orlok packing himself into his coffin, and later lurching out of it, still feel vibrant. Perhaps that's partly because this is a relatively decorous scary movie, with just a few drops of blood standing in for Orlok's grotesque appetite. Murnau drenches Orlok's victims in creeping shadows, rather than cascading gore. You'll jump like a child at the sight of a rat, believe me.
But even if you remember those shocks from a long-ago screening, I would urge you to acquaint yourself much more closely with this poetic, audacious film. There's far more here than a textbook paragraph on Expressionism can brief you on. Each repeat viewing brings something new to the fore, and that's where the MoC treatment excels. Let me see, this disc contains two audio commentaries (one by R Dixon Smith and Brad Stevens from 2007, and another by David Kalat, who is so charming and impressively knowledgable that we'll let him off for describing Stoker as an Englishman), two interviews (an previously seen chat with Abel Ferrara, and a new one with BFI Film Classic author Kevin Jackson). There's a German language doc, which includes lots of location footage, and a booklet of articles and gorgeous images. The new commentary and interview are particularly sharp on unpacking myths around Nosferatu, from the etymological origin of the name to Grau's spiritualist beliefs.
Take it from me, you need more Nosferatu in your life.
Nosferatu is released by Masters of Cinema on DVD and Blu-Ray in the UK on 18 November 2013. Order the Blu-Ray from Movie Mail.
Read Neil Brand on Nosferatu: the love story
Listen to Mark Sinker on Nosferatu in the Silent London podcast
10 great silent horror films
Albin GrauBlu-RayDavid KalatDVDExpressionismFW MurnauhorrorMasters of CinemaNosferatusilent film
Dr Mabuse, der Spieler (1921): Blu-Ray & DVD review
October 28, 2013 PH	2 Comments
Dr Mabuse, der Spieler (1921)
A "monumental film" as epic as the most far-fetched fantasy saga, but firmly grounded in the streets of Weimar Berlin, this first instalment of Fritz Lang's Dr Mabuse trilogy is, simply put, a whole lot of movie for your money. A supernatural tale intertwined with social commentary, a crime film on a majestic scale, Dr Mabuse, der Spieler represents four and a half hours of contradiction and excess. It's brilliant.
First, acquaint yourself with the structure: this is the first film in the trilogy, but it's two films, released a month apart. The first film is called The Great Gambler: an Image of the Age, the second, Inferno: a Game for the People of Our Age. Each has six acts and runs for around two hours. It's a tale of rise and fall, at heart, but a messy business at best. Together the two films form a complete story, but the second part of the trilogy, Das Testament des Dr Mabuse, would appear in 1933 and the third, Die 1000 Augen des Dr Mabuse, in 1967. The source for the first two films at least was the serialised Mabuse novels of author Norbert Jacques. This is pulp mystery fiction with a touch of class; Lang takes a few steps in the direction of his Hollywood film noir future with these slick stories of criminal twists, unexpected turns and moral compromises in a bleak urban setting.
Those subtitles for the two individual films should give you an inkling that this was intended to be, and was received as, a film that documented its own bewildering era. The cracks in the fractured, dysfunctional Berlin society where Mabuse and his seedy accomplices dwell are the symptoms of the national postwar crisis. That Mabuse is a charismatic, malevolent leader who leads his victims to commit terrible acts, even to destroy themselves, bodes ill for the future. The pace of the plot, the melting certainties and doubtful identities, speak to the fears of those baffled by the mechanisation of the age. This is a film driven by speeding trains, racing cars, guns and screaming mobs: modern phenomena as frightening to many as Mabuse's mass hallucinations.
Like the film itself, Dr Mabuse is a man of many disguises. Publicly a psychoanalyst, he is privately a gambler at the card table, a hypnotist who transforms people into pawns, a bingeing alcoholic and an arch-criminal with a network of underling felons reaching across the continent. That "Spieler" subtitle translates variously as actor, player and puppeteer. Played by Rudolf Klein-Rogge, Mabuse enthrals the audience. His deeds are evil, but there is endless fascination in watching him at work: the casual arrogance of a conman who sends memoranda to his criminal colleagues on banknotes, of a villain who fails to collect a towering gambling debt, because his eyes are on a grander, bloodier prize, of a boozer who condemns his assistant's drug use.
Mabuse's nemesis is a dogged man of the law, the state prosecutor on the trail of a gang of card cheats who stumbles upon by chance on a more sinister criminal organisation. Bernhard Goetzke plays Inspector Von Wenk as a slightly desperate individual, a Weimar gumshoe who throws himself recklessly into the hunt for Mabuse – in one stunning setpiece, he faces the villain down over the card table, and manages to resists the full force of the doctor's hypnotic power. Von Wenk goes solely by his surname in the source novel, but Fritz Lang honours him with the same first name as the novel's author, Norbert Jacques. It's a hint, perhaps that the law will eventually reign supreme in the anarchic, shifting world of Dr Mabuse. Hold on tight for an all-guns-blazing finale.
There are women, of course. Norwegian star Aud Egede-Nissen is the nightclub dancer Cara whose love for Mabuse rules her every move, from her seduction of his latest mark (played by the man who would become her husband, Paul Richter – Siegried in Die Nibelungen) to her ultimate downfall. Her performance, especially at the climax of the first movie, is particularly moving. And the little-known Gertrude Welcker dazzles as a bored countess seduced by the thrills of the Berlin nightclubs, and the underworld that controls them.
Dr Mabuse is a film to savour – if you know your silent Fritz Lang, you won't be surprised that it's a rare frame you don't want to freeze, to relish the grandeur of the upper-class interiors, the moodily lit street scenes or the disconcerting multiple exposures in the mad scenes. On this new Blu-Ray presentation, as you ponder the beauty of it all, you'll want to take a listen to the excellent audio commentary by David Kalat. Among many interesting insights into the movie, Kalat argues staunchly that Lang was no Expressionist. You may waver in your agreement with this thesis, but what's for sure is that on the evidence of Mabuse Lang knew when to drape his sets in Caligari-esque chiaroscuro lighting, and when to leave well alone. The abstract Expressionist artworks that transform the Count's mansion into a palace are refigured as a gothic nightmare when he loses his sense. The contrast between the two cinematographic treatments of the jail cell setting here is heartbreaking: the crisscrossing, swerving bars of darkness almost seem a comfort when we return to the same scene in crisp, unforgiving sunlight.
It's a rich text for sure, and Kalat drops more than a few clues in his commentary as to how you may want to view Mabuse from a 21st-century perspective. It's a game of chase-the-parallel. Does Herr Doktor equate to a gangster, a terrorist, a capitalist or a banker? The devil perhaps, is not in the detail, but in Lang's expertly drawn grand scheme. This is a story of the very rich and the very poor, and a man who found a way to exploit both groups. From his blind counterfeiters toiling in a slum workshops, to the society chumps he cheats at cards, Mabuse is bleeding everyone dry. The really terrifying idea is not that villains exist, after all, but that the circumstances exist in which they can thrive.
Dr Mabuse, der Spieler is released by Masters of Cinema on DVD and Blu-Ray in the UK on 28 October 2013. The two-disc set features a sparkling modern score by Aljoscha Zimmermann played by a small ensemble, three featurettes, audio commentary and a booklet of images and text from the archive. This is a Blu-Ray transfer of an existing 2K restoration. Order the Blu-Ray from Movie Mail.
Blu-RayDavid KalatDr MabuseDr Mabuse der SpielerDVDFritz LangMasters of Cinemasilent film


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The Monterey Jazz Festival returns for its 65th edition: A photo gallery
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Nate Smith flips an awkward youth into a skyward path on 'Kinfolk 2: See the Birds'
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Nate Smith mines his past and points the way forward on 'Kinfolk 2: See the Birds'
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Take Five: Esperanza Spalding Forges a New Formwela, and Nate Smith Delivers a Groove
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redpajama_set_name: RedPajamaCommonCrawl


This week gave us a healthier variety of deals than usual. Whether you're interested in a new smartphone, gaming consoles, smart speakers, or smart displays, there's a lot to parse through, and that trend is going to continue through early 2019.
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Therefore let no one pass judgment on you in questions of food and drink, or with regard to a festival or a new moon or a Sabbath. These are a shadow of the things to come, but the substance belongs to Christ. Let no one disqualify you, insisting on asceticism and worship of angels, going on in detail about visions, puffed up without reason by his sensuous mind, and not holding fast to the Head, from whom the whole body, nourished and knit together through its joints and ligaments, grows with a growth that is from God. If with Christ you died to the elemental spirits of the world, why, as if you were still alive in the world, do you submit to regulations— "Do not handle, Do not taste, Do not touch" (referring to things that all perish as they are used)—according to human precepts and teachings? These have indeed an appearance of wisdom in promoting self-made religion and asceticism and severity to the body, but they are of no value in stopping the indulgence of the flesh.


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Fri Sep 28
how the moral panic over 'sexual sadists' silenced their victims
Written by Joanna Bourke, Professor of History, Birkbeck, University of London
Between the 1920s and the 1950s, sexual sadism was widely discussed in Australian newspapers. Ironically, attempts to ban the Marquis de Sade's books gave journalists an excuse to write about them, thus spreading knowledge of this "perversion". Public awareness of sadism also incited social panic, provoked by a series of highly publicised murders of Australian women.
One of these was the mutilation and killing of Dorothy ("Dot") May Everett in Newcastle in November 1937. Everett was a 27-year-old kitchenmaid who worked at the Broughton Church of England School for Boys. After a night at the theatre, she was last seen walking home.
Dorothy May Everett, who was killed in November 1937. Daily Telegraph, Saturday December 11. Trove
At eight the following morning, her naked body was found. Her clothes had been ripped from her body, there were teeth marks on her chest, and one nipple had been bitten off. She had been strangled with her own stockings.
This was a particularly brutal murder, made worse by the fact that it took place in one of the most fashionable areas of Newcastle. Women living in the city were reported to be extremely frightened: they were reluctant to go out at night without a male escort. A "School Killer" (later sensationalised as the "Vampire Killer") was at large.
One word dominated discussions of Everett's murder: sadism. All the newspapers agreed that the perpetrator was "of no ordinary type": he was "someone known as a sadist", a "person of abnormal tendencies, a pervert, and a sadist". Newspapers warned that "A SADIST of a type not previously known in the State is being sought", and if this "sex-maniac" was not caught soon "he might commit similar horrible crimes".
Everett herself seems to have been a fairly typical young woman. She was a bit moody, in part because she shared a room that was only 12 feet wide and contained two beds. She was said to have been frightened after an unknown man had attacked her only a fortnight before her murder. Tragically, she had not reported this to the police "because of the fuss it might have caused".
It was discovered that dozens of other women in Newcastle had also endured sexual attacks at the time, but none had officially reported the assaults for fear of publicity. In the words of a headline in Brisbane's Telegraph, a "Wave of Sex Assaults Revealed After Murder of Newcastle Woman".
Read more: Between innocence and experience: the sexualisation of girlhood in 19th century postcards
Eventually, 34-year-old Leonard ("Len") William Roberts, a former gardener at the school, was charged with her murder. The main evidence was the bite marks. The man who had bitten Everett had no teeth in his lower jaw and Roberts had no teeth at all (although he habitually wore false teeth in his upper jaw).
After consulting leading British and American forensic texts, the detectives asked Roberts to bite the "fleshy" chest of Police Sergeant Stephen Pender in an attempt to match the teeth marks. In court, Pender claimed that Roberts had merely "simulated" biting him.
Leonard William Roberts, who was accused of killing Dorothy May Everett in 1937. Daily Telegraph, Saturday April 30. Trove
There was, however, a secret witness: "Miss X" whose identity was never disclosed on the grounds that her reputation would otherwise have been destroyed. "Miss X" regularly engaged in sexual intercourse with Roberts and claimed that he was perverted.
She told police that Roberts had beaten her with a rolled newspaper and threatened her in other ways as well. There were things he had done to her that were "too horrible to tell". When she heard about the murder, the first thing she asked was: "Was Dot bitten?"
The problem with all this evidence was not only that it was circumstantial, but that Roberts didn't fit the image of a sadistic monster. He made an impression in court, appearing (in the words of one journalist) "faultlessly dressed in a navy blue suit, white shirt and collar and striped blue tie. He was clean shaven. His hair was neatly brushed and he looked well." Indeed, there were demonstrations in his favour outside the court.
At the end of the trial, Roberts left the courtroom an innocent man.
From de Sade to sadists
Reportage on the Everett murder was fairly typical and reveals a lot about the moral panic about sadism in the first half of the 20th century. Although there was huge interest in the concept of the "sadist" in Australia, journalists nevertheless felt obliged to explain what "sadism" actually involved. This suggests it was a fairly new word for many Australians. Newspapers informed their readers that a "sadist" was "a person who experienced pleasure when inflicting pain on another" and it was derived from the French nobleman, the Marquis de Sade.
They noted that there was a continuum in cruelty – from the sadist who murdered women to those who believed that naughty children should be caned. In Australian publications, as well as in British and American ones, there was also a constant conflation of sadists and homosexuals. Indeed, in 1952, the Psychiatric Section of the West Australian branch of the British Medical Association used the term "sadist" and "queerness" interchangeably.
Where were journalists getting information about sadists? In Australian publications, the most common authorities mentioned were European psychiatrists Richard von Krafft-Ebing, Albert Moll and Ivan Block.
Of these, Krafft-Ebing is mentioned the most frequently, especially his view that sadism arose from biological degeneracy. A sadist's parents and other relatives were likely to have been insane, syphilitic, epileptic, or "constitutionally neuropathic". Sadists possessed the "seed" of their perversion from birth.
Article by Sydney psychology professor H.T. Lovell. The Sun, Sunday July 28 1928. Trove
Read more: From reproducers to 'flutters' to 'sluts': tracing attitudes to women's pleasure in Australia
Other commentators maintained that sadism arose from a mixture of causes. In 1930, for example, an unnamed "leading Sydney psychiatrist" interviewed about the sadistic strangling of some young girls claimed that the "Melbourne murderer" must have had his "natural instincts repressed" as a young person, and these instincts "found an unnatural outlet" in a fetish for suffocating girls with their own stockings.
This psychiatrist also believed that in "most cases of sadism" there would be "a taint of insanity in his ancestry", a history of "intermarriage of close relatives", or even evidence of "an injury to the head during childhood".
The anxiety-inducing conclusion, therefore, was:
Any one of us is capable of sadism … We might acquire it through an accident, or through the repression of our natural instincts.
Monsters and men
Most commentators believed that sadists were outwardly normal men. This may seem strange, given the overblown language of monstrosity that was routinely applied to them, particularly in the sensationalist or tabloid press. After all, lurid descriptions of the "Vampire Killer" (as Everett's killer was called) and "bestial" murderers boosted sales. It gave licence for prurient descriptions of wounds, torn flesh and gaping holes.
Rebecca May Andersen, who was killed in Sydney in May 1924. Truth, May 18 1924. Trove
One example is the way Sydney's Truth newspaper reported the "Devilish Murder and Mutilation" of Rebecca May Andersen, who was tortured, mutilated, then killed near Long Bay Prison in Malabar (Sydney) in May 1924. Readers were told the murderer had to be "lust-mad", or a "revengeful demonical monster with an appetite for inhuman atrocity": he suffered from "a perverted, depraved, sexual degeneracy".
However, at the same time, these reports suggested sadists could be "any of us" – that is, a male "us". They possessed a normal outward appearance, the sadist being "a monster in human form". In the words of a psychiatrist explaining a brutal abduction, rape and torture of a woman in Corrimal (northern suburb of Wollongong) in 1946:
People capable of sadistic acts like the Corrimol crime would never be noticed in a crowd. They would appear quite normal individuals. But the latent tendency to sadism comes out if the opportunity arises. Some sadists suffer from the "tough guy" complex. By inflicting pain on a weaker person, most often a woman, they boost their own ego. But usually sadists are sexually frustrated people, who express their perversion in bodily cruelty.
Alcohol abuse was often blamed for transforming a "normal" man into a sadistic one. This was the explanation given by Sir John Macpherson, the first professor of psychiatry at the University of Sydney and the author of Mental Affections: An Introduction to the Study of Insanity (1899). Referring to the sadistic attack on Andersen, Macpherson observed:
Some of the most extraordinary and dastardly crimes in history have been committed by alcoholics who, under the influence of the drink, perform deeds which, in their normal state, they would shrink from contemplating.
This was the explanation for the sadistic violence of Roy Governor, an Indigenous Australian. After drinking half a bottle of wine, Governor had raped an elderly, white, disabled woman. In his statement from the dock, Governor explained:
When I drink wine my sex controls me; I have no control over it; I am what they call a sadist; I have read a lot of books on sex things … I am a funny man when I drink wine I want with a woman.
Curiously, sadism was conceived of as an excess of normal male sexuality. In other words, a sadist would not harm anyone if he could be "relieved" of his "natural" passions by regularly engaging in sexual intercourse with a "legitimate" partner. In 1920, for example, Perth's Truth concluded that sadism was the "Cave-Man Kink". The journalist contended that the perversion was:
more common than is generally supposed. The nips and pinches and the playful slaps, that in many cases mark the preliminary stages of love's young dream likewise denote a tendency towards that kink. Fortunately for the happiness of mankind, or rather womankind, this tendency becomes weaker in the vast majority of cases, and mostly dies away altogether with the satisfaction of the sexual appetite. Should it persist, however, it eventually develops into plain brutality, usually of a most revolting type.
Blaming the victims
Disturbingly, victims were often said to be partly responsible for their fate. Of course, there were degrees. The press failed to find anything salacious about Everett, for example. But Andersen was "fair game". "Big Nose May", as she was known, was castigated as a slut and "insatiable" alcoholic. Newspapers even speculated that she might have been murdered because she stole money from one of her customers or had given them a sexually transmitted disease.
Women gather outside the court for the inquest into Dorothy May Everett's murder. Newcastle Sun, Tuesday January 4 1938. Trove
Finally, sadists were a type of person, as opposed to a practice. In particular, he had a racial identity: he was "foreign". In writing about Everett's cruel murder, readers were informed that the perpetrator had probably arrived recently in the Newcastle port. There was nothing "Australian" about such perversions.
More importantly, newspaper reports increasingly focused less on the victim's sufferings and more on the identity of the perpetrator. In the late 19th and early 20th centuries, the perpetrator had been labelled a sadist because of the mutilation and extreme violence done to the victim. Increasingly, though, the victim's pain became secondary to the perpetrator's identity and, in particular, his fantasies.
Indeed, to be labelled a "sadist" a man did not even have to harm anyone. Sadistic acts became secondary to a sadistic identity, which was located in the fantasy life of the perpetrator. This medicalisation of perpetrators of extreme violence had the effect of silencing the victims of sadism.
Women like "Dot" Everett were doubly silenced – both by their murderer and by newspaper reportage that was more interested in speculating about the "sadist" than his victims.
Authors: Joanna Bourke, Professor of History, Birkbeck, University of London
Read more http://theconversation.com/friday-essay-how-the-moral-panic-over-sexual-sadists-silenced-their-victims-103445
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https://www.wsj.com/articles/cheetah-digital-buys-wayin-in-play-for-more-direct-data-on-consumers-11562767200
Cheetah Digital Buys Wayin in Play for More Direct Data on Consumers
So-called first-party data is becoming more attractive as privacy concerns grow
Sahil Patel
July 10, 2019 10:00 am ET
Direct-marketing firm Cheetah Digital has acquired Wayin Inc., a company which enables marketers to collect consumer information from quizzes and other interactive games, as demand for so-called first-party data grows.
Cheetah made its name providing email—the company was known as CheetahMail until 2017—and other direct marketing software to advertisers. It said the transaction, terms of which weren't disclosed, would increase its business in first-party data, or information that is gathered directly from consumers instead of being harvested or inferred by outsiders.
First-party intelligence has become more valuable to marketers in the fallout from Facebook Inc. 's scandal with Cambridge Analytica Ltd. , which led the platform to tighten its grip on user data, and growing concerns about privacy and the misuse of data among major social media platforms.
Advertising agencies and others have made some big moves to take greater ownership over audience data, including Interpublic Group of Co s.' $2.3 billion purchase of Acxiom LLC's data marketing business last year.
"We're going to see this trend of convergence in ad tech continue," said Kait Boulos, vice president of marketing at Varick, a media agency that specializes in automated ad buying. "First-party data will continue to permeate across everything."
Cheetah Digital Chief Executive Officer Sameer Kazi said the company is building a platform to help marketers make the most of data. "Our mission is to help the first-party data marketer do everything from customer acquisition all the way through loyalty programs," Mr. Kazi said.
Cheetah in July 2018 acquired Stellar Loyalty to assist in those efforts. Cheetah generates close to $300 million in annual revenue, Mr. Kazi said.
But there are challenges to Wayin's approach to gathering data—for example, consumers don't always complete online questionnaires or they enter in inaccurate information to finish as quickly as possible.
Wayin CEO Richard Jones said the company encourages valid responses by offering consumers rewards for their information.
A campaign by Air New Zealand Ltd. promoting new routes to the U.S., for example, asked users what sort of activities they would be interested in while visiting the country, in exchange for the chance to win free flights to the U.S. About 100,000 people entered the sweepstakes, according to Mr. Jones. Air New Zealand sent participants who didn't win a personalized email offering a 5% discount on a future flight.
Other Wayin clients include Discovery Inc., the National Hockey League and Vodafone Group PLC, according to the company. Wayin says it has collected 1.3 billion conversions—users who have completed a survey or an activity in one of its other interactive units—in the last two years.
Write to Sahil Patel at sahil.patel@wsj.com
WSJ opens select articles to reader conversation to promote thoughtful dialogue. See the 'Join the Conversation' area to the rightbelow for stories open to conversation. For more information, please reference our community guidelines. Email feedback and questions to moderator@wsj.com.
Cheetah has bought Wayin, a collector of user info from quizzes and other interactive ad products, as demand grows for so-called first-party data


Predictive and behavioural analytics enable better risk mitigation, fraud detection and customer insight for insurers. Kelly Preston, data analytics manager at SilverBridge, believes this provides organisations with a better understanding of not only how to approach solution development but also customer management.
"Being able to use these advanced analytical tools allows insurers to optimise business processes across the likes of sales, marketing, service delivery and compliance," said Preston.
At a time when insurtechs are flooding the market, taking with them much-needed consumer attention, traditional insurers must embrace predictive and behavioural analytics to regain the competitive advantage, or at the very least, be seen to be agile and willing to change.
Fortunately, the amount of data is pressurising insurers to view its importance in a new light. Given how rich data has become and the sheer variety of sources (or data channels) at their disposal, decision-makers are able to extract vital insight to revise their strategic approaches. Of course, this requires a different mindset and a willingness to adapt to new market requirements.
"While the use of these models to gain insight for more bespoke customer solution development is important, the real value for insurers doing business in Africa come in terms of risk management and fraud detection," said Preston.
Of course, leveraging predictive and behavioural models to their optimum only work in conjunction with the existing actuarial data the insurers have at their disposal. Using the best from unstructured and structured data sources empowers an insurer to more efficiently review and assess for risk and fraud.
However, it does not mean insurers have to adopt an all-or-nothing approach. Instead, they can embark on the transformation journey with smaller, more dedicated projects and gradually filter it through to the rest of the organisation. In this way, they can build business cases that show the value of predictive and behavioural models for C-suite executives and make the overall transition smoother.
"It is clear that the insurance environment has been evolving in recent times," added Preston.


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Cheltenham Festival 2015 – Gold Cup Preview
March 8, 2015 by Graham Richards Leave a Comment
The most successful current jockeys are Barry Geraghty, Tony McCoy, and Ruby Walsh with two wins each. Prior to Bobs Worth's win, the previous thirteen winners ran in the King George or Lexus Chase. The last ten winners had previously been successful in at Grade 1 race. Bobs Worth apart, winners in the past ten-years had prep runs thirty-four and eighty-three days prior to the race. Four of the last six winners won a race at the previous festival.
Silviniaco Conti will enter the arena with 2014 Betfair Chase and King George Chase wins to his name. His TFR is 8lb clear of the next horse in the betting market. What dampens enthusiasm is his apparent dislike of undulating tracks. Since cheek-pieces were fitted in the Betfair Chase, Noel Fehily has made most of running, jumping well to outstay his rivals. One imagines he will try to control the pace from the front, thereby given him every chance of seeing out the trip. Holywell is now second top rated on Timeform. He returned to his best last time and looks sure run well at a venue and meeting where he has such a good record. Many Clouds and Road To Riches arrive on a high. The former won well on Trials day with course experience a valuable asset. The ground drying has to be considered a negative. Lord Windermere showed more in the Irish Hennessy despite looking just short of his best fitness-wise. However, both RPR's and TFR's suggest those crossing the water need to improve if Silviniaco Conti runs to his best.
The one exception may be the hugely exciting Djakadam. On TFRs he needs to improve considerably. However, he could not have won the Thyestes Chase any easier under a big weight. The Giant Bolster (second, fourth and third in the race) looks sure to run his best race of the season. Coneygree ran out an impressive winner in the Denman Chase. His RPR suggests the RSA is the safest choice in terms of achievement, though at eight-years, he is old enough to run in an open-looking renewal. Interestingly his RPR is the same as Carlingford Lough achieved in the Irish Hennessy. I am of the opinion Boston Bob, in preparation for Cheltenham and the spring festivals received a considerate ride. Not put in the race until the latter stages, he looks one sure to enjoy the extra quarter of a mile at Prestbury Park. Sam Winner is expected to take his chance having reportedly improved since his run in the Lexus Chase.
SILVINIACO CONTI 176
HOLYWELL 168p
MANY CLOUDS 165+
ROAD TO RICHES 165
HOUBLON DES OBEAUX 162
THE GIANT BOLSTER 162
CONEYGREE 159
BOBS WORTH 162
MANY CLOUDS 165
CARLINGFORD LOUGH 162
LORD WINDERMERE 162
DJAKADAM 161
SAM WINNER 159
grahamrichardsonline.co.uk
Filed Under: Cheltenham Festival 2015, Cheltenham Gold Cup 2015, Preview Tagged With: Cheltenham Festival, Cheltenham Gold Cup
One In Four – Festival Portfolio
March 7, 2015 by Jonathan Pollinger Leave a Comment
Cheltenham. Whilst I marvel every year at how time flies en route to the Festival, most of this season has passed me by. As you all know; my beautiful daughter Daisy arrived in September. What is lesser known is that since then, I have been fighting Post Traumatic Stress Disorder and Post Natal Depression. Thankfully, I am on the long road back to full health. One in four of us will suffer with some kind of mental health related illness at some stage of our lives and yet is still very much a taboo subject. I admired Mark Enright for recently speaking about his battle with depression. Shortly afterwards Leo Powell wrote an excellent article about depression in the Irish Field. Several people have enquired as to why I have taken so long to get back to work so I thought I would make the reason widely known. I cannot thank my family and friends enough for their unwavering support. I plummeted depths that I never want to revisit. Days and weeks flew past where I didn't even recognise myself. There were times that I thought that I wouldn't get back on a Racecourse again, let alone back to work. I'm not fully there yet but I'm hunting around out the back and popping away slowly. My Festival Portfolio is nearly complete. The first two days are listed below. Updates along with Thursday and Friday's selections will be added over the course of the next few days. For now my battle plans are as follows: Tuesday Champion Hurdle: My thoughts on last years race are that Jezki was a fortunate winner. With poor Our Conor's fall and the hampering of The New One and Hurricane Fly not being on his A game, it only left My Tent Or Yours to fight and let's face it that mercurial individual couldn't fight his way out of a paper bag. We all know where my heart is but whatever happens I just want Fly back safe and sound. Heard a lot of people say he can't win it, granted it's tough but of course he could win it. A bit of rain would help enormously and I'm not sure how much I buy into Cheltenham doesn't suit, alright Leopardstown is more to his tastes but two Champion Hurdles, and a third and fourth isn't pure disdain for the place. Have heard a lot said about Faugheen not beating much, I don't think that's the case at all. His record so far speaks for itself. I watched last years Neptune again this morning and there is something about him that reminds me of Istabraq. The New One gets unfairly crabbed left right and centre which is unjust, you're looking at a Cheltenham specialist and what could have been the Champion Hurdler of 2014. The New One isn't slow, the speed he shows from jumping the last to up the hill is a joy to watch. National Hunt Chase: Cause Of Causes. Let's hope the ghosts of last years Kim Muir are layed to rest. Jamie Codd reportedly takes the mount. I also have my eye on Cogry in this contest as I truly believe we are looking at a future Grand National winner. He will have the assistance of Steven Clements in the saddle who is no stranger to Festival success. Wednesday Neptune: I have had Windsor Park backed since the beginning of time. I first clapped eyes on this beautifully bred gelding at Fairyhouse in December 2013 and thought immediately that he was a future Neptune prospect. He'll come up a hill, his two wins at Galway have proved that. The only worry I have is his jumping. Beast Of Burden catches the eye but I just wonder if the ground may have gone against him. RSA: Southfield Theatre, he'll stay, he'll jump and has a Cheltenham record of 4, 1, 3, 4, 2 – that will do for me. Coral Cup: Watching to see where Goodwood Mirage and Dell Arca line up. Update – as they both line up, I cannot split them. Dell Arca has the happy hat on. QMCC: Champagne Fever. Having thought of him always as a Gold Cup winner, I've done a 360 and backed him for this race. Festival record speaks for itself. Bumper: Bellshill is my pick of the Mullins battalions. Thursday JLT: Currently caught between Splash Of Ginge and The Tullow Tank. This tussle normally invades my mind at around 4am, when/if I reach a conclusion, I'll post. – Update: at the prices, I'll back them both! Pertemps: Yes, we all know the call with Edeymi. He's an obvious for the shortlist but I am also currently looking at Regal Encore and Trustan Times. The former relished the step up last time out and let's face it, we've all expected him to pop up in a big handicap for a while now. Trustan Times races of 2lb lower than his 1/2 length fourth last year. Again, hopefully I will have decided by Thursday morning. Update: I'm with Regal Encore Ryan Air: I backed Johns Spirit for this a while ago, I know the new course hasn't been as kind to him as the old course but I've wanted him to run in this since his Paddy Power win. If Boston Bob re routes here from the Gold Cup then he becomes of interest too. World Hurdle: After his run in this last year and his run at Aintree, I started to think that Zarkandar had got a bit cute. I edited all chance of a World Hurdle victory for him out of my mind. After seeing him take the Grand Prix D'Automne, I reconsidered his chances. Alright, he idled at Ascot but the new course at Cheltenham has always played to his strengths. Paul Nicholls is very bullish about his chances and for me he is the likely winner of a very open race. His main danger in my eyes is Lieutenant Colonel. Brown And Merribelle: Rawnaq, he runs on the level, over timber and over fences. He's versatile with regard to the ground which is great as nobody seems to know what the true going actually is. Rawnaq took the notable scalp of Gilgamboa last time out. He has placed form at Cheltenham (third in the 2013 Greatwood). With wins at Navan in the bag, you can be assured the hill will pose no problems. Friday Triumph: I am opposing Peace And Co, not because I am dismissing his obvious talent, I just think he's fragile in the mind. He wore earplugs on Trials Day and still got worked up by proceedings. It will be a lot noisier on March 13th. I'm currently toying between Beltor and Petite Parisienne; that 7lb allowance is handy. Albert Bartlett: I actually backed Killultagh Vic for this race a while ago as I'm convinced he's crying out for three miles. He's by no means a certain starter so my alternate selection is the battle hardened Blaklion. He'll stay and we know he acts over course and distance. Have done a bit of a rewind here and have actually backed Black Hercules. Gold Cup: Today has seen a U turn on my thoughts for this race which are still under investigation. I will update. No time to explain but as the rain falls I am pointed further towards Many Clouds. Martin Pipe: Rain will help Killutagh Vic's cause. Grand Annual: Eastlake – with or without AP's assistance!
Filed Under: Cheltenham Festival 2015 Tagged With: Causes Of Causes, Champagne Fever, Cheltenham Festival 2015, Southfield Theatre, Windsor Park
Key Cheltenham Festival Stats [Infographic]
Filed Under: Cheltenham Festival 2015 Tagged With: Cheltenham Festival, Cheltenham Festival 2015, Festival stats
Cheltenham Festival 2015 – ALBERT BARTLETT PREVIEW
February 4, 2015 by Scott Ruderham Leave a Comment
One of the most stamina sapping races of the festival is the Albert Bartlett Novices Hurdle. Run over 3 miles on the new course on Gold Cup day, the phrase often used to describe the race is a 'war of attrition'. The race has been won in recent years by future chasing superstars. Weapons Amnesty won the race in 2009 and went on to land the RSA Chase the following year. Bobs Worth won this race in 2011, before going on to transition in to a chasing superstar by winning the RSA Chase in 2012 and then the big prize, the Cheltenham Gold Cup in 2013. Will there be a future chasing superstar in the field this season, or perhaps a future staying hurdler champion? Let's take a look at some of this year's leading contenders. Blaklion With three impressive victories to his season so far at Perth, Cheltenham and Chepstow, the Nigel Twiston-Davies trained 6 year-old has clearly got leading claims for the race this year. Two of his defeats this season have been to the John Ferguson trained Parlour Games, who is joint favourite for the Neptune Investment Management Novices Hurdle. Both of those runs were contested over 2m5f, a trip that may not be far enough to bring out the best in Blaklion. His only run over 3m this year was the extended trip at Doncaster where he started an even money favourite. He ran a very tidy race before going down narrowly, by just a head to Carraci Apache who also holds a big chance come March. With good course form at Cheltenham, and a step up in trip, it could bring out the best in the horse. My only concern would be, is he has been on the go for a long while now, travelling high and low around various racecourses in the UK, and completing a total of 6 races. He can be backed at a general 14/1. Black Hercules Many punters will remember the recent connections of Willie Mullins and owners Graham and Andrea Wylie having two 'so called 'festival bankers in recent years in the shape of Boston Bob and Briar Hill in this race. Needless to say both of them ended up getting beat at very short prices. This year the same connections have the favourite again in one of last season's leading bumper performers Black Hercules. The 6 year-old started off by winning his hurdling debut in November over 2m at Cork at long odds on, and followed up in early December by winning again at Cork, this time over 3m. This could be the horse to break the Mullins hoodoo on this race. He looks assured to stay the trip, jumps soundly and a bit of better ground will not harm his chances either. He seems a horse who likes to bowl along in front, and with retained jockey Ruby Walsh demonstrating some winning similar tactics in recent festivals on Champagne Fever and Vautour, punters will be keen to take a strong hold of this lad one feels. Black Hercules is currently 5/1 favourite for the race. No More Heroes When it comes to having winners at the festival, Gigginstown House Stud are no strangers to this. They own the highly progressive 6 year-old, No More Heroes, trained by Gordon Elliot, who himself is a regular winner at the March showpiece. Starting off at Punchestown in November very long odds on favourite, he won easily by 8 and half lengths over 2m6f and rocketed to the top of the ante post market. Next up was a date at Navan against Neptune ante post favourite, Shaneshill. No More Heroes was set off 3/1 for the race run over 2m4f. Showing off a good jumping technique, and an impressive engine, he had enough turn of foot to beat off his main rival by a length and three quarters. His last run at Leopardstown on 25th January, he started 11/8f. He did not go a yard in the race and jumped very much like a novice, almost a bit green. The race was won by Outlander, the Gigginstown second string in the race. I can put a line through that race for sure, as it turns out he scoped badly after the race. His connections have maintained their faith in the horse and he still looks set to line up in the Albert Bartlett in March. The 3m trip looks set to play to his strengths, a true stayer in the making and future chaser, he is my idea of a proper Albert Bartlett horse. No More Heroes can be backed at 10/1 for the race. Fletchers Flyer / Vyta Du Roc One of the strongest lines of form from the season has emerged from the first race of the season contested by the Harry Fry trained gelding Fletchers Flyer. Running over 2m4f at Sandown in October, the 7 year-old would finish a length 3rd behind winner Shantou Bob and Padge, who has subsequently gone on to frank for the form since, by winning at Taunton. Vyta Du Roc who also holds a prominent position in the ante post market for the Albert Bartlett went on to beat Shantou Bob by a nose at Sandown in December. Vyta Du Roc has won two Grade Two events this year, losing his unbeaten UK record in the Grade One Challow Hurdle by only a quarter of a length to Parlour Games. Fletchers Flyer has gone on to compliment the form and performances of all around him by winning his latest two starts, both over 2m6f at Ascot and Wincaton respectively. Both of these horses look rapid improvers, and could be set to do battle in the Albert Bartlett Novices Hurdle on Gold Cup Day. I would hand the slight edge to Vyta Du Roc, as he has course form, by winning at Cheltenham this season, and also having good performances to his name in top graded company. Race Verdict The race has been known to throw up a few big priced winners in recent years, with the likes of Berties Dream in 2010 winning at 40/1 and Very Wood last year winning at 66/1.This year I think the main protagonists at the top of the market will take some beating as the form looks very solid. I will be keen to keep an eye on how Parlour Games runs and performs in the Neptune Investment Management Novices Hurdle on the Wednesday, as he holds some good forms lines against many of the market leaders for the Albert Bartlett. The horse who remains unexposed to the most extent is the market leader Black Hercules, who has ran in a couple of races only and lacks experience in open graded company. I would be willing to take him on. The one horse who for me shows signs of improving and coming on the most for the trip is No More Heroes. Putting a line through his last run after scoping badly, I would be willing to give him another chance. No More Heroes – 2 pts win @10/1 Tea For Two – 1pt e/w @ 16/1 Written by Scott Ruderham
Filed Under: Cheltenham Festival 2015, Preview Tagged With: Albert Bartlett Hurdles:, Cheltenham Festival, preview
Cheltenham Festival 2015 – Triumph Hurdle Preview
January 29, 2015 by Joe Porter Leave a Comment
Run over 2 miles on the new course, the Triumph Hurdle is traditionally won by a future stayer with the exception of Katchit and the ill-fated Our Conor who turned out to be speed horses and therefore Champion Hurdle material. The betting for this year's race has Nicky Henderson's unbeaten Peace and Co in the colours of Simon Munir and Isaac Souede as the red hot ante-post favourite with the same owners Bristol De Mai trained by Nigel Twiston-Davies the second favourite. The owners seem to have a real stranglehold over this race as they're also responsible for Vercingetorix, who won today in Meydan, and Top Notch further down the betting list. . Let's take a look at the main contenders: Peace and Co – Nicky Henderson This flashy looking son of Falco has made a big impression on his UK debut when bolting up with the Summit Junior hurdle at Doncaster by 19 lengths. Although he was very keen in the race, Daryl Jacob bided his time and the horse readily drew clear of Starchitect. On his next start he was long odds-on favourite for the JCB Triumph Hurdle Trial at Cheltenham. Everything that could go wrong did, as he very extremely keen and the race was run at a crawl, but despite these factors he overcame them to score by a comfortable 3 lengths from reliable yardstick Karezak. Peace and Co looks the one to beat. Bristol De Mai – Nigel Twiston-Davies Having already won in France on very soft going when in the care of top French handler Guillaume Macaire this athletic grey was sent to the shrewd Naunton trainer Nigel Twiston-Davies for the Finale Juvenile hurdle at Chepstow. Ridden by retained rider Daryl Jacob, the grey cruised through the race that was run on heavy going and slammed Karezak by 6 lengths going away. The key to this horse is the going as he seems to want some cut in the ground. Kalkir – Willie Mullins This French import was already being heavily backed for the race before he made his Irish debut in a grade 3 at Fairyhouse. That race showed why he was fancied for the Triumph Hurdle as he easily disposed of albeit a lesser calibre of opponent when beating Dai Bando by 8 lengths. Starting at 4/7 on his next start at Leopardstown, the wheels came off as he was struggling some way out before plugging on to be beaten 2 lengths by the unraced Fiscal Focus which has to go down as disappointing. The one thing in his favour is that he looks a stayer and the stiff finish should suit him at Cheltenham. Hargam – Nicky Henderson Flat bred and showed smart form on the Flat in France including a 2nd in a listed race which was not too dissimilar to the stable/connections of former high class hurdler Binocular. He made his debut at Cheltenham and travelled like the winner until fitness found him out against the durable Golden Doyen. Back at the same venue a month later but on softer ground, he again travelled with zest but found it hard work on the ground to narrowly beat Karezak, who may have won if jumping the last more fluently. Surely the key to this horse is better ground and he should find that in the Triumph Hurdle. Karezak – Alan King A very likeable horse who has been in against the best all season gaining one victory on his debut. His form ties him in with best juveniles this season, though his jumping has let him down on occasion but he keeps running his race and that experience will definitely help him in a rough race like the Triumph. Connections might run him in the Supreme as he would be getting weight, but he is a great each way bet if running in the Triumph. Bristol De Mai Would need soft conditions which are unlikely to turn up in the race. Verdict: Despite lacking the experience of others in the race Peace and Co has the most natural speed and ability, but the Triumph is usually run at a great tempo and although he will still be travelling on the bridle coming down the hill, will his natural exuberance get the better of him against a stouter stayer? Hargam is a similar type to his stable mate and may lack the experience for a battle. If this is the case then I feel that KALKIR is the one best suited to take advantage presuming he doesn't get too far back in the field. I can see him staying on better than anything up the hill and the better ground may be to his liking. Last time on softer ground he came under pressure earlier which didn't happen on debut when the ground was good to soft. For our exclusive Community Members only preview of the RSA Chase, JOIN US for just £6 per month. You'll also get £10 off admission to our Cheltenham Festival Preview Evening in Cheltenham on Friday 6 March, tips every day and much more – learn more about Free and Community Membership.
Filed Under: Cheltenham Festival 2015, Triumph Hurdle 2015 Tagged With: Cheltenham Festival, Cheltenham Festival 2015, Triumph Hurdle
Clarence House Chase – Fall Out
January 23, 2015 by Graham Richards Leave a Comment
The Clarence House Chase was rightly the centre of attraction last weekend. My first observation is that Grey Gold, Somersby, and Twinlight bettered, ran within 1lb, or ran too, their previous best RPR. That suggests the race was a true run affair with the form likely to hold-up.
DODGING BULLETS bettered his highest RPR by 6lb, agreeing with the official handicapper who now has him on a mark of 171. The winner jumped well and made progress running into the home bend, ultimately coming home to win comfortably. There has been no fluke about his recent wins or progress. Effective at Prestbury Park, and priced around 5/1, it is hard to argue that he is not a solid each-way selection. However, the stats below raise a worrying trend. DODGING BULLETS has run seventeen times over hurdles and fences. His record in races run in the months of February, March, and April reads; 2, 4, 6, 9, 7, 2, 4, 5. October, November, December, and January reads; 1, 1, 3, 1, 1, 3, 1, 1,1.
Moving onto Sprinter Sacre. I would normally report this was a pleasing return to action. Unfortunately, given the well-documented problems the horse has endured, we have to look at the performance in a different light. Experienced, pre-race paddock watchers, felt he looked fit prior to the race, if lacking the physical presence, he displayed in his pomp. His jumping was competent, without any of the flair or exuberance associated with his best performances. Sprinter Sacre travelled comfortably throughout the race until the second last, where he began to tire. Post-race he was not blowing hard, suggesting pre-race observations were correct. Finding traces of blood has to be a concern; it should not be forgotten the horse had a breathing operation in 2013. Normally it would be easy to forgive what was a relatively minor reading on the equipment used by the vet. However, we are not dealing with normal. Perhaps the most telling words came from Mr Geraghty in one interview. "He gave a good feel, his jumping will get slicker, he'll be better for match practice, fitness, and everything, so I'd be hopeful we'd narrow the gap come March." The words "narrow the gap" do not for me, inspire confidence. Denman was a similar scenario. He took several races and a summers rest to regain his best form, and most importantly his confidence.
FSF Ratings 179
SPRINTER SACRE 179
DODGING BULLETS 168
SPRINTER SACRE 2015 168
Filed Under: Cheltenham Festival 2015, Review Tagged With: Ascot, Dodging Bullets, Sprinter Sacre
Henderson's Festival hints at a bright future
March 22, 2014 by Nigel Keeling Leave a Comment
Only 12 months ago, champion trainer Nicky Henderson was celebrating a wonderfully successful Cheltenham Festival. Simonsig looked set to become a stable star after landing the Arkle. Bobs Worth proved himself the best staying chaser in the land when winning the Gold Cup. And the incredible Sprinter Sacre had soared to even greater heights. So as the new season arrived we all sat back in anticipation of jump racing domination, Henderson style. Yet if there's one thing you quickly learn about this great sport, it's just how fragile the stars of the show can be. Before the season's action even began, Simonsig was struck down by injury. Then jump racing fans were stunned to see Henderson's stable superstar Sprinter Sacre sidelined with a heart condition. Both are set to return next year, but such losses were certain to have a major impact on the stables fortunes. Fast forward to this year's Cheltenham Festival, and is it such a surprise that Nicky Henderson's team could only produce one winner? A surprise maybe that his only winner was not Festival specialist Bobs Worth. The Gold Cup favourite looked set for a repeat victory two out, but appeared to lack gears up the famous hill. Against popular opinion, it appears the quicker ground did not suit. Henderson's only winner came in the Coral Cup, when Whisper got the better of the perpetual Festival runner-up Get Me Out Of Here. It was a terrific win for a horse rated 153 in such a competitive handicap. The horse could easily have been sent chasing this season, but the decision to embark on another hurdles campaign could prove a master-stroke. He looks to have strengthened considerably during the season and could be something special when finally sent over fences next winter, still only a six-year-old. But Whisper wasn't the only eye-catching Henderson performer. He looks set to have several top-class novice chasers next season. Two potential stars ran oustanding races in the Supreme Novices' Hurdle. The enormous Josses Hill ran a blinder to finish second behind Mullins' Vautour. He is every inch a chaser in the making. His breeding suggests he'll stay much further than two miles. It would be no surprise to see him back at Cheltenham Festival 2015 as a fancied runner in the RSA Chase. Vaniteux was third in the Supreme just half a length behind his stablemate. A year younger than Josses Hill, this was only his fourth career start. It was a terrific performance from such a raw inexperienced horse. Thought by his trainer to have "plenty of speed", he has the size and scope to make into a serious Arkle contender. Sprinter Sacre himself was similarly third as a raw inexperienced five-year-old back in the Supreme of 2011. Willie Mullins may have a potential superstar in Vautour, but Nicky Henderson could have one of his own in Vaniteux. My Tent Or Yours is the undoubted flag-bearer for Nicky Henderson over hurdles, but it's in the chasing division that Henderson could hold a plethora of firepower. This year's Cheltenham Festival may have failed to deliver the number of victories the Lambourn trainer would have hoped for, but there was no shortage of classy performances. If Nicky Henderson can get all of his stars fit for battle, the Cheltenham Festival of 2015 has the potential of being one of his greatest.
Filed Under: Cheltenham Festival 2015 Tagged With: Cheltenham Festival 2015, Nicky Henderson, trainer
Cheltenham Festival Tickets – BUY HERE!
February 17, 2014 by Jonathan Pollinger Leave a Comment
Have you bought your tickets for Cheltenham Festival 2015? No? Then get ready to buy your tickets for Cheltenham 2015 – available soon! Cheltenham Racecourse don't sell tickets through third parties so book on the Cheltenham Racecourse website via the link below or image above to get the best prices available. You can also select the link below or image above to buy tickets for race meetings throughout the season.
Filed Under: Cheltenham Festival 2015 Tagged With: Cheltenham Festival tickets, Cheltenham Racecourse, Cheltenham tickets, discount, discounted tickets, Paddy Power Open, Showcase, tickets
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As WordPress became more and more popular and as people began to see and leverage its value, it was inevitable that new business models would emerge. One such business model was the development and sale of premium/commercial themes.
in their entirety under an alternative licence.
In the early days, commercial themes were not licensed under the GPL. That began to change in 2008 when Brian Gardner adopted the full GPL model for his Revolution themes (a good number of which I purchased). I distinctly remember his change in approach. It was a big deal at the time.
Many others followed suit, including well-known commercial theme providers like WooThemes, GraphPaperPress and Elegant Themes. At the date of writing this post, the commercial section in the WordPress.org themes directory listed 69 commercial theme providers (a number which does not seem to include all of them) who provide themes that are fully-licensed under the GPL.
Not all commercial theme providers applied the GPL to their themes. Some applied their own proprietary licences. This ultimately resulted in an eruption of controversy in certain parts of the WordPress community as to the application of the GPL to WordPress themes. Perhaps the most publicised and memorable instance of this was DIY Themes' initial proprietary licensing of its Thesis theme. The developer of Thesis disagreed strongly that the GPL required Thesis to be GPL-licensed while Matt Mullenweg and others argued strongly (yet, for the most part, calmly) that the GPL required just that.
The title of a post on TheNextWeb sums up just how heated the debate became: "WordPress and Thesis Go to Battle: Mullenweg May Sue". Matt even tweeted that he would buy people a GPL'd premium theme instead of their buying Thesis. Chris Pearson and Matt debated the issue on Mixergy, with Mixergy's owner Andrew Warner doing his best to play the role of mediator. The video of that debate is still available today (the day I write this at least) on TheNextWeb at the link above. Listening to it reveals deeply held views as to which position was correct. Matt's earlier (and consistently held) positions can also be heard in a video on this topic on WordPress.tv: Matt Mullenweg: WordPress and the GPL.
On an expansive view of the GPL, which of the three models are considered to be GPL-compliant?
I've mentioned three possible licensing models above. Listening to the Pearson/Mullenweg debate might make you think there is only one option: that a WordPress theme, when distributed, needs to be licensed in its entirety under the GPL or will be non-compliant with the GPL conditions applying to WordPress itself. But even on what some would say is an expansive view of the GPL's requirements, that doesn't seem to be the case. Enter the Software Freedom Law Center.
"On the basis of that version of WordPress, and considering those themes [that is, the classic and default themes] as if they had been added to WordPress by a third party, it is our opinion that the themes presented, and any that are substantially similar, contain elements that are derivative works of the WordPress software as well as elements that are potentially separate works. Specifically, the CSS files and material contained in the images directory of the "default" theme are works separate from the WordPress code. On the other hand, the PHP and HTML code that is intermingled with and operated on by PHP the code [sic] derives from the WordPress code.
applying a "split licence" to the theme (under this licence, the PHP code and integrated HTML are covered by the GPL with the rest of the author-created components (such as the CSS and images) being covered by alternative and usually proprietary terms).
The corollary is that commercial themes that are licensed on an alternative basis are GPL non-compliant.
But the million dollar question remains: was the SFLC's conclusion regarding application of the GPL to WordPress themes correct? How did the SFLC come to the conclusion it did and is it necessarily correct that a premium theme must be at least split-licensed? This is a significant question as it seems that, for many, the SFLC opinion has become something akin to 'GPL/theme gospel'.
The SFLC's opinion has been written in fairly approachable and succinct terms that make it easy to read. The cost of such brevity is that it does not address key aspects of applicable copyright law in any detail. Rather, a particular version of applicable law appears to be assumed. This has not been lost on certain sections of the WordPress community. There have been some vocal disagreements with the SFLC opinion.
In discussing this broad question, I'm going to try to unpack things a little so as to put the debate in what I consider to be its correct legal context.
If we stand back for a moment from the SFLC opinion and consider the debate more broadly, we can see that many discussions and views as to why WordPress themes need to be GPL-licensed (either completely or in part) have launched straight into the question of whether a theme is "derivative of WordPress" or "derived from WordPress" and why, technically, that is believed to be so, without any real discussion of the applicable copyright law and what it means in legal terms for something to be a derivative work (or, in other words, what the legal test for a derivative work is). This, with respect, is to put the cart before the horse. The discussion can become technical, philosophical and/or emotional but without proper appreciation and application of the governing legal principles.
The relevant area of law is copyright law. Some have argued that the GPL is (also) contractual but that is unlikely to be the case, at least in common law jurisdictions (see, for example, P Jones The GPL is a License, not a Contract, 3 December 2003; Software Freedom Law Center Guide to GPL Compliance, 2nd Edition, 31 October 2014, pp. 16-17).
It is because WordPress is a copyright work that people need permission to copy it or modify it or distribute it. In many if not most legal systems, these acts are restricted acts that can only be exercised by the copyright owner(s) unless permission is granted allowing these acts to occur (or unless there is a statutory defence to infringement). This is where the GPL comes in. It is the means by which all the component parts of the WordPress software can be licensed under a common licence that allows copying, modification and distribution. In other words, the GPL is the means of granting permission for acts which would otherwise by prohibited as a matter of copyright law.
On a copyright analysis, it is vitally important to appreciate that the freedoms granted by the GPL are only required by people building something that will work as part of, with, or on top of WordPress (such as a theme or plugin) when, in copyright law terms, they are doing a restricted act. The most relevant restricted acts are copying the licensed program or a substantial part of it, modifying it (i.e., creating a derivative work) and distributing it. If a person's actions do not constitute a restricted act, the person is not constrained by copyright and – significantly – is not bound by the terms of the GPL that require downstream GPL licensing upon distribution or publication of a work that "contains or is derived from the Program or any part of it".
1. Does the creation and distribution of the particular WordPress theme involve what copyright law would characterise (by reference to the copyright and GPL'd WordPress software) as one or more restricted acts?
2. If the answer is no, the copyright analysis ceases. But if the answer is yes, is there any defence to what would be an actionable copyright infringement where the theme is developed and distributed without permission from the copyright owners?
3. If the creation and distribution of the WordPress theme does involve a restricted act and there is no defence, permission to undertake the relevant act(s) is required. This, in turn, requires adherence to the GPL and that, in turn, raises the question as to what the GPL requires, in the particular circumstances, as to downstream licensing.
If we turn now to the SFLC opinion, how does it deal with the derivative work question? It states in strong terms that at least the PHP components of a theme "are derivative of WordPress" but the analysis appears to be based primarily on a technical linking/interdependence or communication analysis, on the assumption that that is the accepted legal test in this context. This is the point that lies at the heart of the debate, as the legal correctness of this approach to ascertaining whether there is a derivative work (i.e., as a matter of copyright law) is not universally accepted. It has, for example, been strongly debated in both the US and the UK (see, for example, L Rosen's 2003 article When is one program a "derivative work" of another? and A Katz's 2007 article GPL – The Linking Debate (available to members of The Society for Computers and Law)).
Commentators have observed that "courts have determined that to be derivative, a computer program must be substantially similar and in some form include a portion of the copyrighted work" (M Valimaki's GNU General Public License and the Distribution of Derivative Works  JILT 6 (2005) at para 3.1).
This "test for derivative work" issue is perhaps the most complex and controversial aspect of the GPL in practice. Developers, affected businesses, their lawyers and interested academics all have and are entitled to their opinions, but there are almost as many opinions as there are theme shops because a range of different arguments can be made (see and compare, for example, Valimaki (cited above), T Gue's Triggering Infection: Distribution and Derivative Works under the GNU General Public License (2012) (1) Journal of Law, Technology & Policy 95, C Bennett's WordPress Themes, GPL, and Copyright Case Law post from 2010, and P Enrique's 2014 piece WordPress is GPL, must your plugin be as well?).
"… there is a persistent issue that won't go away – whether linking programs together creates a derivative work. If linking creates a derivative work, the GPL applies to the linked program; otherwise, the GPL doesn't apply.
The reason we don't truly know the answer is that the courts haven't decided a case that is squarely on point (there are potentially analogous cases, of course, but – as far as I'm aware – no GPL or similar case directly on point). It is only the courts (in the absence of legislative intervention) that can finally determine the matter. Courts might apply what some might say are orthodox notions of what it means for something to be a derivative work or they might incrementally (some might say dangerously) develop the law on this point but we just don't know. And even if the courts of one country made a definitive ruling on the point, courts in other countries – where other lawsuits might be commenced – could decide differently. As a result, uncertainty remains.
a more complicated scenario where there is no copying of the GPL'd WordPress code at all (assuming, in practical terms, that that's possible).
The legal conclusions across these three scenarios could be different. I think we need to recognise that.
To what extent does it really matter?
All the above said, and whilst having reasonable certainty as to the application of the GPL to premium themes is desirable, I suggest that, for practical purposes, it is not by itself decisive as to whether a theme owner may wish to GPL-license (or at least GPL split-license) its theme. In other words, the relevant considerations are not only legal ones. Let me explain.
The core WordPress team confers practical benefits on the providers of full-GPL'd premium themes (e.g., promotional blog posts and a listing in the commercial section of the themes repository) while (at least historically) showing a perhaps surprising level of 'displeasure', shall we say, not only towards those who do not release premium themes under a GPL licence at all but also (at one time) to those who only apply a split licence (despite this being consistent with the SFLC opinion). Admittedly some years ago now, that displeasure took the form of, for example, online criticism and rejection of ThemeForest members from a WordCamp (see J Caputo's Automatically Blackballed and Un-Blackballed).
I think the GPL/theme debate has reached the stage where it's fair to say that a significant proportion of the WordPress community now frowns upon premium theme providers who either don't GPL-license at all or (probably to a lesser extent) split-license their themes. That mightn't be good for business and that, for some, may be the bottom line. For some people, this frowning may be caused by a particular view of what the GPL requires but for others – and I think this is a particularly important point – it may be caused by a recognition of the enormous opportunities that WordPress makes possible and the open source spirit and generosity that pervades much of the WordPress community. I think we've reached the stage where, for some people, this is more about a community norm than it is about a strict reading of the GPL (not to mention the tedium of listening to more and more competing GPL arguments when, ultimately, only a court can decide).
The counter-argument to my point above, that not applying the GPL could be bad for business, is that GPL-licensing will encourage on-selling of themes by those who didn't design them to the detriment of the theme designers. This counter-argument doesn't appear to carry much weight. It's true that such activity does occur but, generally, on-sellers cannot provide the support and upgrades that the premium theme developers provide. That is often what people pay for. This is a point that Matt has made repeatedly. At least in my own experience as a purchaser of many premium themes and plugins, I think he's right.
I was surprised to read this and it doesn't mean the issue has gone away but, to me, it speaks of pure honesty and integrity. It recognises that not all themes are created equal. And it recognises the important role that the courts have to play. That's all I have to say.
A very nice overview of the legal situation in terms of GPL and WordPress themes and plugins. Mark Jaquith moving towards supporting non-GPL use of WordPress has something to do with a change in the community. Most of the big players still left standing (Mark Jaquith, Matt Mullenweg via Automattic, Yoast to name just a few) are now involved in intensely commercial WordPress plays. Each is an investor in the WordPress marketplace.
Even my own Foliovision now has commercial code for sale (a video player).
We all have a stake in restricting licenses. Our independence in these discussions is compromised. It's something like the sixties. The Viet Nam protesters long ago finished in the suburbs and some now even order drone strikes (John Kerry).
Hi Alec. Thanks for your comments. Interesting perspective as to a potential reason for a change in approach but, for my part, I'm not sure that's the real reason (and it's only a change on the part of one person). It's true that Mark, Matt and Yoast are involved in the WordPress marketplace but they have always been strong advocates of the GPL and they still are. If we look at Automattic, it releases (and always has released) a heap of code under the GPL (Jetpack being a prime example). As for Matt, you probably couldn't find a stronger advocate for the GPL. Turning to Mark, he and his colleagues appear to have released their VelocityPage plugin under the GPL (see see here in the comments). I read Mark's comments as his having had further time to reflect on the legal complexity of the derivative work question and his realising that, in some instances, things are not necessarily as clear cut as some once thought. I genuinely think that's commendable. Thanks again for your comments and I hope things are going well for you with Foliovision (great looking video player).
One. Automattic as the whale in the WordPress market benefits from GPL as they can adopt anyone's code and create their own service or bundle it into Jetpack. Just being able to appropriate code does not benefit smaller agencies (we don't have the audience reach nor the financial means to put teams of three to untaagle another developer's code).
Two. Matt Mullenweg and Automattic have specialised in serviceware. Whether Akismet, Vaultpress, security, related posts, stats, comments: all of Automattic's precious code (I use precious as containing commercial value) is server side. Hence Automattic shares very little commercial code back with the community. Indeed, Automattic works very hard to take self-standing functionality and turn it into server-based services (related posts, stats, security, comments). There is very little independent and free standing about a WordPress.org WordPress install once you install Jetpack.
As a final weapon, Automattic/Mullenweg use Jetpack to wipe out competitors. Since "everyone" should be using Jetpack, it's very easy to take over another plugin silo. Slowly Automattic are trying to take over the entire plugin ecosphere with the unavoidable and ubiquitous Jetpack. It's a borg philosophy: "You will be assimilated. Resistance is futile." Microsoft used it with great success in the nineties until they'd reached an apex of marketshare and market resentment. I'm surprised as anyone to see Mullenweg follow in Microsoft's footsteps but actions speak larger than words.
Remedies: Mullenweg and Automattic should man up and unbundle Jetpack. Let those serviceware plugins compete on a level playing field. Once this is done Automattic will immediately become less predatory (it's hard to support and market fifteen different plugins) and will have to focus on their natural core business: high end WordPress development and high traffic WordPress hosting (vip.Wordpress.com). If Automattic would focus on those natural markets, balance would return to the WordPress ecosphere.
Those markets won't keep Mullenweg a billionaire but a founder's ranking on the billionaire tables should not be the goal of free software. For perspective, Linus Torvald's fortune is a little over $100 million.
What shouldn't not be Automattic's business is data aggregation and wiping out the individual WordPress developers and small agencies via bundleware and serviceware. The individual WordPress developers who built and popularised WordPress.org and the rich plugin environment had making Matt Mullenweg a second rate Matt Zuckerberg (Facebook founder) in mind when we spent years of our lives to build a truly independent and free publishing platform.
PS. Thanks for your kind words about our video player. We've been improving video on WordPress for almost five years now.
In short does this mean that if you create any theme for WordPress it should be licenced under GPL?
The view of the Software Freedom Law Center is that at least the PHP and any intermingled HTML needs to be released under the GPL. CSS and images, by contrast, can be but do not need to be. If those latter components are not also released under the GPL, two different sets of licensing rights apply to different components of a theme. This is essentially a strategy to constrain people's uses of the theme to what is allowed by the non-GPL licensing rights. Not that many theme shops do this. Envato/ThemeForest does but it gives authors/developers the choice to opt for 100% GPL.
Turning to community norms, and recognising that a norm doesn't represent the views of outliers, the general trend is to opt for 100% GPL.
I read this piece months ago and came back to read again in light of all that's been going on the last couple of weeks. As someone who is not new to tech but new to WordPress as a business, I have loved the sharing economy but always been aware there are potential pitfalls. Do I want to be greedy? Or create scarcities where they shouldn't exist? No, but I also want to make a good living, and now I'm wondering what Matt Mullenweg is about. He has seemed to be earnest in wanting to create opportunities for those who don't otherwise have them easily — whether it be those who publish for free or very cheaply or those who are providing added value to the WordPress software for a fee. All of that is great, but I hope he realizes his vision may be marred by the heavy handed stance he's taken with Chris Pearson. It's also hard to be immune to the diatribe given by James Farmer, and who knows what else will surface. Is it all a smear campaign of Matt by some who may have gotten greedy and who intentionally flouted the GPL? I'm not sure and especially when the SFLC, whom Matt references as the definitive opinion, sees the GPL so broadly with respect to WordPress. I really want to understand and very much appreciate your piece on the GPL muddle, Richard.
Hi and thanks Lisa. I'm grateful for your appreciation. Comments like that motivate me to write more. All the best. Richard.


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Enjoy hours of fun with family and friends with one of these great discount software or music titles. From education to games, clipart to music, you're sure to find it all. You pay only shipping and delivery.
Search results for 'zane'... 205 matches.
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Displaying Items 51 to 60 of 205
Zane: Music Hist: The Art of Listening
Enhance your enjoyment of music learning how to listen to musical works and appreciate different musical styles. Explore the structural and technical aspects of music, which organizes sounds into rhythmical patterns recognizable as Gregorian chant, rock'n'roll, soul, folk, swing, country, classical, and other musical forms. Learn to distinguish rhythm, melody, and harmony. Ages 11+. Windows 95/98/Me/2000/NT/XP/Vista and Mac View
Zane: Music Hist: Through Classical Period
Trace the evolution of Western classical music from Gregorian chant to the works of Ludwig van Beethoven, whose career marks a turning point in musical history. Explore medieval plainchant and the music of troubadours, Renaissance choral works and madrigals, baroque opera and the concerto, and the classical symphony and sonata-allegro form. Ages 9+. Windows 95/98/Me/2000/NT/XP/Vista and Mac View
Zane: Music Appr: Instruments of Symphony Orchestra
Follow the Denver Young Artists Orchestra as it prepares for and performs a concert. Behind-the-scenes interviews with the conductor and the orchestra's early rehearsals, seating auditions, dress rehearsal, and the final performance. Windows 95/98/ME/NT/2000/XP/Vista and Mac View
Zane: World Hist: The French Revolution
The prolonged political and social struggle between 1789 and 1799 in France that involved the overthrow of the monarchy and establishment of the First Republic. Windows 95/98/Me/2000/XP/Vista and Mac View
Zane: World Hist: The Industrial Revolution
Period marking the introduction of mass production, improved transportation, technological progress, and the industrial factory system. In the United States this period is generally agreed to have begun at the time of the Civil War (1861-1865). Windows 95/98/Me/2000/XP/Vista and Mac View
Zane: World Hist: The Rise & Fall British Empire
Learn how the small island-nation of Great Britain came to rule a vast empire covering more than one-quarter of the world. Trace the rise of the British Empire, from its acquisition of new territories in the sixteenth century to its end in the twentieth century, when its colonies gained independence and the empire declined. Windows 95/98/Me/2000/XP/Vista and Mac View
Zane: World Hist: The Thirty Years' War
Between 1618 and 1648, Europe erupted into continuous warfare. Life became so terrifying that a contemporary wrote, In our century, and many believe it to be the last.... The Thirty Years' War--the first European-wide war in history; a war which mutilated Europe; a war whose horrors were unsurpassed until the world wars of our own century. Windows 95/98/Me/2000/XP/Vista and Mac View
Zane: World Hist: The Victorian Era
The Victorian age took its name from the queen who came to the English throne in 1837 and ruled until her death in 1901. Windows 95/98/Me/2000/XP/Vista and Mac View
Zane: Bio Science: Biochemistry 1
Discover the common types of biological molecules and the basic principles of cellular function. Explore the biological significance of carbohydrates and lipids. Learn about the structure and role of glucose, the structural combinations of sugar molecules, glucose breakdown, and the role of ribose in photosynthesis and nucleoside triphosphate chemistry. Includes a 105-minute multimedia presentation and 600 photos. Windows 95/98/Me/2000/XP/Vista and Mac View
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Understand the basic principles of an ecosystem's trophic structures and function, including food chains and webs, trophic levels, and the fictional relationships between them. Study the flow of energy through an ecosystem. Examine the material cycles and the principles influencing the movement of materials through an ecosystem. Includes a 45-minute multimedia presentation and 450 photos. Windows 95/98/Me/2000/XP/Vista and Mac View


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Five Leonardo Scholars Selected Their Favorite Work by the Italian Master. None Picked 'Mona Lisa.'
By Claire Selvin
Claire Selvin
Associate Editor, ARTnews
More Stories by Claire
Collector Jaime Botín Sentenced to Jail for Smuggling $27.4 M. Picasso Painting Out of Spain
A 1512 self-portrait by Leonardo da Vinci at the Capitoline Museums in Rome.
DOMENICO STINELLIS/AP/SHUTTERSTOCK
Leonardo fever is taking hold this season. Last month, the Louvre opened its hotly anticipated Leonardo da Vinci retrospective, and timed tickets are already selling out fast. Meanwhile, over at the Castello di Rivoli Museo d'Arte Contemporanea in Turin, Italy, a Leonardo project of a different sort—meticulous copy of the $450 million painting Salvator Mundi by artist Taner Ceylan—is now on view as well. As excitement and intrigue surrounding the Italian master continues to build, ARTnews asked five experts and scholars one seemingly simple question: What is your favorite Leonardo work? Their responses, which follow below, may surprise you.
Leonardo da Vinci, Saint Jerome Praying in the Wilderness, begun 1483.
CLAIRE SELVIN/ARTNEWS
Carmen Bambach
Curator of drawings and prints, Metropolitan Museum of Art
Leonardo's intensely spiritual painting of Saint Jerome Praying in the Wilderness (Vatican Museums) represents the summation of the great master's powers of expression and dramatic storytelling. Ultimately, this unfinished picture also sums up his ethos as an artist who immersed himself in the creative process itself, experimenting and pursuing ineffable refinements ceaselessly, rather than commit to the completion of a final product.
Leonardo da Vinci, Vitruvian Man, ca. 1490.
VIA WIKIMEDIA COMMONS
Research fellow, Oxford University
Leonardo's iconic Vitruvian Man drawing is rarely exhibited outside Venice, partially because it is so fragile and sensitive to the exposure to light. It is best, however, to see it in person, especially under raking light, to see the metal stylus incisions that outline the arms and legs, and mark divisions of the body, along the central axis, into six sections and seven sections. These are not visible in photographs. Leonardo corrected the Vitruvian six-foot division of the body in a circle and a square, noting that a body with these proportions would be seven feet tall. Drawn around 1490, this work is central to Leonardo's approaches to proportion theories in visual and technical arts.
Leonardo da Vinci, Ginevra de Benci, ca. 1474-78, oil on panel.
COURTESY EVERETT COLLECTION/SHUTTERSTOCK
Carla Glori
Art historian
The portrait of Ginevra de Benci is my favorite artwork by Leonardo because Ginevra was a poetess. She can be defined as the antithesis of Mona Lisa. The sfumato creates mysterious shadows on the face of the Louvre muse, while the face of Ginevra is modeled with subtle veils and her porcelain-fine features reflect the splendor of the moon. The eyes are the mirror of her mental emotions. She has no mystery, but many secrets. Leonardo masterfully "portrayed the story" of this young woman trapped in the patriarchal Renaissance world and, on the reverse of the panel, he painted the symbolic sprig of juniper, a pun on her name, and the scroll with the inscription "VIRTUTEM FORMA DECORAT," from which I formed 50 Latin anagrams that tell the story of Ginevra's life.
Leonardo da Vinci, The skull sectioned, 1489, traces of black chalk, pen, and ink.
ROYAL COLLECTION TRUST/© HER MAJESTY QUEEN ELIZABETH II, 2019
Martin Clayton
Head of prints and drawings, Royal Collection Trust
In April 1489, Leonardo obtained a skull, and sawed it open to study its internal structure. His aim was to understand how the brain worked—how we perceive the world through our senses, how we think, how we express emotions through our pose and facial expression. This small drawing (The skull sectioned) on a page from a notebook, was not intended for anyone else to see, but it is highly finished, detailed, and accurate, and embodies Leonardo's wish to comprehend the scientific basis of life and art.
The Virgin with the Laughing Child, ca. 1460, terracotta.
©VICTORIA AND ALBERT MUSEUM
Francesco Caglioti
I choose the terracotta group of the Virgin with the Laughing Child in the Victoria and Albert Museum [in London], in my opinion a [quintessential] work by the young Leonardo. It is, in fact, the only surviving sculpture by his hand, and perhaps the earliest among his masterworks. Because it was rediscovered as such only very recently, it allows us to take a new and fresh look at his art, capturing in the best way the great genius in the first steps of its astonishing development.


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Олимпийская сборная Новой Зеландии по футболу или сборная Новой Зеландии по футболу до 23 лет () — команда, представляющая Новую Зеландию на Олимпийских играх в дисциплине «Футбол» (до 1992 года в Олимпийских играх принимала участие основная сборная) проходит Олимпийский отбор Океании, а также на Тихоокенских (с 2015 года). В заявку сборной на Олимпийские игры могут включаться игроки не старше 23 лет, за исключением трёх футболистов, которые могут быть старше этого возраста.

После перехода сборной Австралии в азиатскую футбольную федерацию сборная Новой Зеландии стала сильнейшей в регионе и регулярно завоевывает призовые места. В Тихоокеанских играх молодежная сборная соревнуется с основными сборными Океании.

История

Статистика выступлений

Олимпийские игры

Олимпийский отбор Океании

Тихоокеанские игры

Награды
Олимпийский отбор Океании
  — 1999, 2008, 2012, 2019
  — 1991, 1996, 2008
Тихоокеанские игры
  — 2019

Текущий состав сборной
Ниже перечислены игроки, которые были включены в заявку сборной Новой Зеландии на Олимпийские игры 2020 в Японии. По правилам в заявку могут быть включены 3 игрока старше 23 лет.

Статистика игр

Примечания

Ссылки
 Расписание Результаты сборной

Футбол в Новой Зеландии
Новая Зеландия на Олимпийских играх
Новая Зеландия
Сборная Новой Зеландии по футболу

redpajama_set_name: RedPajamaWikipedia