This transcript has not been 'cleaned' to make it into a dharma talk, just reviewed for typographical errors.
If an object takes you away from the breath, do not call this wandering. It's just part of the choiceless awareness. If a sensation arises in the body like an itch or throbbing and draws attention away from the breath, don't resist the object, simply be with it. Contact.
Perhaps it's a sound that drew you away, the traffic noise, maybe, or somebody in the room coughing. Sense organ of ear, touching the object sound. And with that contact, hearing consciousness arises. Feeling—pleasant, unpleasant, or neutral. Perception, knowing the sound as a sound, knowing the cough as a cough and the car horn as a car horn. Perception files things, categorizes too. And then volition. If the traffic is loud, there may be an aversion that arises, wanting to get rid of the noise, hearing not as sound but as noise.
If aversion or grasping arise, they may bring a contracted energy. This is an important point in your practice. If there is a contraction, that becomes the new object. Don't get caught up in, 'This is an aversive thought, this is a grasping thought' with attempt to change them. Simply watch the body and the contraction you may experience.
The whole experience of contracting is the object. The body as sense organ, touching that object. Consciousness arising with contact. Pleasant, unpleasant or neutral. Perception noting, 'This is a contraction.' Can the contraction just be there without further contraction around it? It arose out of conditions. It's impersonal, impermanent. Let it be. As the contraction dissolves, come back to the breath.
In the same way, if a thought arises, perhaps a memory, mind touching on a memory, contact and consciousness, feeling, the unpleasantness of the memory, perception, 'this is an unpleasant memory.' A mental formation, moving into aversion. It might be aversion toward the people involved in the memory. It might be a judging thought to the self, such as, 'I shouldn't be remembering,' or 'I should be angry.' It's just a thought. It's impersonal, impermanent. It arose out of conditions. There's nothing there you have to believe in. It's often helpful to find the body contraction there with the aversion because aversion is such a big experience in the body and the mind. You're not avoiding or denying the aversion to bring attention to the contraction, it's just a way of staying centered through this difficult memory or difficult body state. As it changes or dissolves, come back to the breath.
When we practice in this way, slowly the body settles down. The mind settles down. From choiceless awareness practice as the tool that we're using, we open into access concentration where the mind starts to pick up each mind and body state with choiceless awareness as the tool. Without a self, nobody choosing this one or that one or trying to get rid of this one or that one. Everything arising or passing away. Resting in full presence, access concentration.
You feel a shift. The contractions stop. Aversion and attachment really stop. They're just objects arising and passing away, some pleasant, some unpleasant. Those that are pleasant will remain pleasant. Those that are unpleasant will remain unpleasant. But there's no reverberation from that pleasant or unpleasant experience or neutral experience.
We'll sit now for 20 minutes.
Did all of you see the transcript from the last class? If you did not see it, it's on the Deep Spring website, please look at it.
We asked you last class to practice in this way and see how it felt to bring in this precise noting, knowing contact as contact and consciousness as consciousness. The feeling—pleasant, unpleasant, neutral. Perception. And then if a mental formation or volition arises out of this impulse energy, or a thought, 'it should be this way or that way', noting judgment, aversion, or grasping if that arises, to really see that as a new object. This is basically what I led in the guided meditation tonight. And this is the way we establish both choiceless awareness and access concentration.
Q: There was a mix. (I) have a question. There seemed to be consciousness or awareness, whatever, all the time. (I) saw the contact with object and then consciousness about that, like hearing consciousness or sensing body consciousness. But underlying all of it, there seemed to be consciousness.
Barbara: When you say underlying it all there seems to be consciousness, do you mean not sense or mind consciousness but some deeper level of awareness? Okay, good point. Yes.
So what you're saying here is that the mundane consciousnesses are picking up mundane objects, and what seems to be simultaneously, there is a deeper level of supramundane awareness that's touching some bigger field than just this sound or that pulsation. So that the mundane consciousnesses are within that bigger field, but they don't pick up an identity of importance as this or that, so much. It's like watching the ripples flowing on the surface of a pond, but you don't identify each ripple, but only know that there are ripples. But you're also aware of the vast water, the depth of the lake, and so forth.
Supramundane awareness, what we call pure awareness, is simply one level of consciousness, but it does not take a mundane object, it takes a supramundane object. All the mundane objects continue, they don't go anywhere, but they're experienced as ripples on the surface so we don't get caught up in them. If mindfulness is sharp, we still see them.
It's like the looking-through-fingers exercise. If you focus on the fingers, there's just the fingers. If you look through, you may entirely miss the fingers. But you can see both. I didn't really hear a question, just that this was your experience. I'm trying to articulate it more precisely for others. Was your experience that, or did you lose touch with the mundane objects?
Barbara: Okay, and am I correct in guessing that there was not a lot of contraction around the specific objects? Maybe not any? (Q: not much) I can't tell you at this point if this is access concentration or pure awareness, which one is predominant. It sounds more like access concentration.
Q: My sense is that in pure awareness, there is not such a direct experience of an object and consciousness with that object.
Barbara: That is a very clear distinction between them, yes. So with access concentration, you're more focused on the fingers, even though the space is very much there. With pure awareness, the fingers are there but there's very little notice of them. There's the vast space. Two different forms of consciousness, two different predominant objects.
it's not as much fun as floating on the lake in a kayak! So this is a wonderful place to practice. I always try to make it a practice experience.
So I was just noting the scraping and, because of my hearing or non-hearing, perhaps I feel the vibration of the scraping maybe more than many people do. Chills running up my spine—scraping! A little too hard—tension, tension. Watching, really settling down into access concentration and watching each of these arising and passing away, and reaching a point where I wasn't taking any of it personally. Eventually mind and body were relaxed and at one point I almost fell asleep! The tension dies out of experience and there's just this progression of various sensations, some more unpleasant than others, none of them really pleasant. And then it's finished.
Taking this to something bigger. An injured foot. Pain, cast, unpleasant. Or taking it to, rushing to the airport in a traffic jam and missing your plane, or getting a phone call about a loved one's illness. Different objects that come up.
The question in terms of our daily life is how are we going to relate to these objects? When we relate from the place of self, it's like, I just used the example of the ripples on the lake. The wind was blowing one day and there were whitecaps on the lake. I was trying to swim and waves were hitting me in the face. Now, I have a choice. I can take it personally, 'Why do these waves have it in for me? Why are they smacking me in the face?' Or I can just relax, 'This is the way waves are. When there's a wind, the water blows into waves.' So I can turn around and do a different stroke. I can do something different. I can relate to the waves in an openhearted way, just knowing this wave is literally arising from conditions. When the conditions cease, it will cease.
So, for me, with this practice, when the mind settles down into this precision, it really frees me from taking it personally and getting caught up in the story, 'This shouldn't be this way, this should be that way, this isn't fair, I don't like this, I want that.' Stories. It doesn't mean I don't act skillfully. If the waves are smacking me in the face, it's probably not skillful to try to keep doing breaststroke right into the waves—I'll keep coughing and getting mouthfuls of water. So I respond appropriately, but there's no self in the response. There's no fear or grasping or aversion in the response, just skillful response.
So let's continue going around, and as you talk, I'd like you also to talk about this: in what ways did what you experienced practicing in this way, help you in your daily life? What insights did it give you? P, do you want to add anything to that?
Q: I recognize that when a thought pulled me out of access concentration, I saw how that was a separation. Focusing on the thought separated the consciousness from the way it feels in access. So it just reinforced the separation that mind can create.
Barbara: And that separation is an object. It's not real, it's a concept arisen from conditions. It's literally almost impossible to keep access concentration going through your tennis game or your driving in traffic, or whatever. But having worked with access concentration in sitting, mind is much less likely to react to the sudden horn or the driver on your right who gets a blowout or whatever, much less likely to relate by getting caught up in the story of it. You catch the story much faster, usually, based on the stability of this practice.
New Q: I did not catch the detailed watching that you are asking for. I noted when I was in access concentration, but I will now really watch for contact, consciousness, feeling. That seems to happen so fast.
Barbara: It happens fast. It's like Ajahn Chah's story of falling through the trees and all the branches just go flying past, and then the thud. With that thud, suddenly there is anger or there's judgment or there's fear, thud! And if mind says, 'Oh, there's anger,' and gets caught up in it, that's a lot different than saying, 'Ah, here's a volitional formation, wanting, or a mind filled with aversion. Here is a mental formation. Oh look, isn't that interesting.' Thud! And then you don't have to figure out how it happened, just, 'Okay, breathing in, I am aware of anger, or judgment or fear. Breathing out, present with this object. Is it pleasant, unpleasant, or neutral?' So however it comes, we take it into the practice rather than getting on it and riding it off into the sunset.
Q: Access concentration is like knowing the field as well as the figures. Do you know what I'm saying? So last week we were at a theater festival and not every play was engrossing for me, but I was sitting, of course. So I could know the people and players and audience and all that but I wasn't connected to the story.
Now, some, I was, but when I wasn't connected, St. Joan, for instance, which went on for hours—Bernard Shaw writes very long plays and I got disconnected but I got connected to the field of the whole thing.
Barbara: And it's interesting because you see the whole thing so much better when you're not absorbed into one part and lost in it.
Q: Immediately after last class for a few days, the instruction was very clear, and I was able to see the contact, consciousness, perception, and able to go quite deep into the object, even mundane objects. As the 2 weeks progressed, it got muddier. What I missed was the undercurrent of tension that I seem to carry all the time. When I saw that, I got out of the loop of object, aversion, object, aversion, object, aversion, and took the tension as the new object. And then things opened up for me.
Barbara: I'm glad it opened up.
Q: My practice has been in a phase of low energy and poor concentration. This has been going on for several months.
Barbara: Is the low energy and concentration just in the formal sitting or through the day?
Barbara: How long are you sitting?
Q: Like J I have also had very low energy in practice, for about 4 or 5 minutes. So this class has been helping me re-enter the practice again. I feel very discouraged about it.
Barbara: Low energy can happen for many reasons, but often it's a result of resistance of some sort. Force is not the answer. But some degree of self-discipline is needed. So trying what I suggested to J—short sittings, instead of walking for 5 minutes in between, you can just stand up and move the body a little to stretch and reflect, 'What if there was good concentration now? What is low concentration enabling me not to see? What might I experience if I had good concentration?' This is not to try to dig out some answer, it's just to reflect it's okay. There's probably something, some place of fear here, and it's okay, I can move into this. Whatever it is that I'm afraid of, whatever fear is there, I'm willing to see it.
Sometimes low energy is related to the stage of insight. I don't know if this is true for either of you or anyone in this circle, but as we move through these insight knowledges, sometimes in meditation there's an experience where everything does seem to dissolve and a feeling that there's nothing one can hold on to. The deeper concentration goes, the more there is this feeling, 'I can't hold on to anything.' And there's a fear. We talk about it as standing on the edge of the cliff asking ourselves to jump off. It's scary. What will happen to me? Will I dissolve? Everything is dissolving. The body is dissolving. Moment by moment. Mind is dissolving. There's nothing solid.
When concentration becomes very weak in that stage of practice, the answer is to invite and nurture concentration because concentration on no-concentration brings up energy and creates concentration. It's circular. When we say, 'There's no concentration, I can't do this,' then we're on that horse riding into the sunset. But when we say, 'Okay, there's no concentration. What is the direct experience of no concentration?' with no stories about it, just how does it feel, feeling empty, a toppling over kind of experience, no firm ground. It's unpleasant, there's not much control. Uncomfortable. Feeling very shaky.
As consciousness takes that feeling, that experience, as an object and just watches it like every other object, impersonal, impermanent, we stay with it for awhile and it changes. And suddenly you find yourself concentrated. And with concentration comes energy.
We begin to see the danger, how easily we could get caught back into taking anything as solid, see into the danger of formations and our attachments to them.
As a consequence of seeing the danger in grasping at any of the aggregates, we naturally become disenchanted with all material or mental formations. This is called the knowledge of disenchantment. This disenchantment arises from wisdom and is accompanied by equanimity, as opposed to aversion.
The experience of disenchantment may extend to all areas of our life and we may discover that we cannot find comfort anywhere. At this point in our practice we may feel quite alone in the world. When the sense of disenchantment becomes intense, we may once again consider giving up our practice, believing that our meditation has led us to a dead end.
Q: I have nothing to say right now. I'm happy to be here.
Q: There were a couple of things that happened, but I'll just talk about one. At a group sitting, for the last 3 or 4 weeks, there have been 3 very loud people. They were there snoring. They were sent to us for a very special practice. I have lived with a snorer for 47 years, so it is particularly galling to me to have this happen.
Q: Right, right! But I also happened to know the cause of the sleeping of at least 2 of these people, and it softened my distress.
Barbara: What did you note?
Q: I know the reason for their snoring. They are on medicine for very difficult conditions. And I was able to note the contraction that was happening for me, anyway. And I took that as the primary object and I was astounded how that opened up a whole field. It was amazing.
Barbara: And the experience didn't change, the snoring was still snoring.
The snoring did not change. But I didn't hear it much.
Q: The opening that happened really was like a flow, like a river flowing by. And it had nothing in it. The river flowing by is not really an accurate statement because there just was nothing.
Barbara: Were you in access concentration?
Q: I don't know the difference.
Barbara: Was mind alert and picking up objects? (Q: Yes) But there was no going out to them and pushing them away? (Q: Yes) This is access concentration. It's an amazing experience. The objects are still there. It's not like suddenly a heavy veil has descended, the objects are still right there, full presence.
Q: But without inherent value.
Barbara: Yes, exactly. Thank you for your witness here to the power of this practice.
Q: Let me tell you the other one, too, because I'm not sure how this fits in. Clarence Thomas has written a book and there have been a lot of interviews and reviews of it this week. When his Supreme Court appointment hearing was going on, I was very involved in that and had a lot of opinions about it. And what I saw in the interviews and what I heard from the reviewers was that this was a very bitter and angry man. I was watching one interview and he certainly was bitter and angry, but I thought, this is a man who wants to be dedicated to doing a good job on the court, and yet I'm not seeing that. He was not able to convey that with words. I thought, here's a man who grew up in the segregated south. He has every right to the bitterness he feels about what I'm sure were terrible experiences.
With that, in a very mundane situation, things really opened up and I began to see him as a person differently than I had before. My husband was saying some fairly uncomplimentary things, and it just occurred to me, and I said, 'This is a very complicated situation.' It was like the same sort of thing happens as an opening in meditation where everything was one. He fit in the equation as much as I did or anybody else. That seems to be the application of practice.
Barbara: These are wonderful examples, thank you. I don't want to get into a long discussion now of what you've said, just that at that point, when there's access concentration, or when there's the heart of compassion and seeing 'judgment' and not getting caught up in the stories of judgment of the self or other people, there's the possibility to really heal the karma and open to a different path, rather than just going the same way all the time. When we keep batting our heads against the wall thinking finally the wall's going to break down, all we do is end up with a very sore head, instead of looking for a different way through, which is letting go of the identification with the stories. Right there is really the healing of karma, because when your heart opens in compassion like that to somebody, this is the place where the karma shifts. I'll talk about it after the break, it's called the active moment. It goes with the volitional formations that I was talking about earlier. We'll come back to it.
Q: I was not here. I did not have the assignment.
Q: I am very, very happy to be here.
Q: I'm enjoying this class so much and I'm staying with it, and I'm going to learn how to do a little signing myself.
So I've become acquainted with aversion and fear because I have a condition, gastric reflux, which can produce backaches in people who have a serious version of gastric reflux, with esophageal—changes in the cellular composition in one's esophagus. I have lived in fear for some time.
The last class was helpful to me because I took to heart the message that whatever comes to the foreground in experience can become the object of attention. That's very helpful. Often, paying attention to the pain itself has not made it go away. But there was one night when I couldn't sleep. I came downstairs and the living room was filled with moonlight coming through the window. And I sat on the landing of the stairway and just contemplated with my eyes open. And the pain was there but I had a different relationship to it because the moon was part of my interior landscape.
that the objects of attention take on a different quality. There is no fear. I felt the pain but it was part of a larger scene. Just in doing that, I experienced relief.
Barbara: Good. What you're saying feels to me more like an experience of resting in awareness than access concentration. We talked briefly about the distinction earlier, that access concentration tends to take up each object very precisely, but there's no attachment or aversion to it. There's no value judgment placed on it, no contraction around it. But it's still right there, like an object bouncing up and down on the waves. Whereas awareness takes you up a ways above the waves, watching them ripple under you. They're there but there's also all that space.
So I can't say for certain but it sounds more like an experience of resting in awareness. It doesn't matter that much which it is. The usefulness of knowing which it is is simply to know, ... let me explain this briefly to everybody.
Resting in awareness. The citta, the consciousness which are capable of perceiving the Unconditioned, are present, but we still need to come back into access concentration. So resting in awareness is a way of opening to the space that supports the opening of access concentration. It's not yet access concentration. But resting in awareness in itself is a very valuable practice just because it teaches us how not to get caught up in this story, to see the space and just take care of the fingers (Barbara holding up hand and wiggling fingers; looking at both the fingers and he space beyond them). So there's a balance.
The texture of access concentration is important; it can become too fine-tuned. There can be tension within it. It poses as access concentration, but it's not completely access concentration. For me, when my practice gets into that place and I'm starting to try too hard, Aaron just says, 'Relax. Open your eyes. Just spend some time doing pure awareness practice.' Ahh. And then close your eyes again 10 minutes later, and return to the noting but with more space. So the space can support the access concentration.
So what I am suggesting to you here is if this kind of situation comes up again and there's this feeling of space, and the pain isn't so unpleasant any more, it's just pain, there are no stories around it, then maybe you can close your eyes and start to be more focused on the arising and passing away of sensation. You see that it changes. It's not one sensation, it moves a little but it gets stronger, it gets weaker, it moves from the front to the back and back to the front again, just watching it changing and knowing it's not one object, it's a series of objects arising and passing away, impermanent and not self. This leads into deeper awareness of impermanence.
So use the resting in awareness as the base and then once that base is open, come back into a formal sitting, closing your eyes, and just being present with these difficult sensations. Okay?
Q: I have been totally away from my practice. I have been very involved in this seminar that we put on a week ago. So absorbing, it was. But something has surfaced and that is that I have noticed that since returning from the seminar, I've been involved in some unskillfulness. It's been very interesting because it has caused me some contraction. A lot of contraction. So, the last time this happened—it's happened 3 times—with the contraction, I made a decision that I would just sit and sit and sit, a long time. And then I decided to journal about what came up in the sitting. I also am taking S's class on Wednesdays, and this was something we talked about in her class.


text:
About - Page 2
About - KHS Directors
A Brief History of KHS & Rockway Gardens
The Kitchener Horticultural Society traces its beginning to 1872 when Alexander Young, a school principal in the town of Berlin (now Kitchener), started a junior horticultural organization for his students. A few years later in the 1880s, John Motz, a publisher and sheriff, became the first president of a horticultural society of an adult group of citizens in Berlin. On December 12, 1910 the first meeting of the Berlin (Kitchener) Horticultural Society was formally organized under the provisions of the Horticultural Societies Act.
The "Golden Period" of the Society began in 1924 under the presidency of J. Albert Smith (alderman, mayor and MLA) and the vice-presidency of Charles H. Janzen. The Society adopted the slogan "Community Beauty a Civic Duty" submitted by E. F. Donohoe.
KHS Flower Show - 1928
At this time, the Society was acclaimed nationally and internationally for its annual flower shows in the Kitchener Auditorium formerly located on Queen Street South. The Society's float won first prize in the 1929 Flower Day Parade at the Toronto National Exhibition, which invited the Society to exhibit a formal garden in the Horticultural Building.
The Society's major civic beautification program in the late 1920s coincided with the Kitchener Council's plan to develop the King Street eastern entrance of the city into a commercial strip of billboards along with a service station.
King Street East 1929
The City leased to the Society a strip of land between King Street East and the Grand River Railway tracks near the transit terminal at the site of the present day Rockway Seniors Recreation Centre, and, soon afterwards, granted additional leases to the Society for the adjoining, the city's sewage treatment facility which would be relocated along the Grand River at Doon.
powered by concrete5 © 2022 gardenKitchener | Kitchener Horticultural Society | Rockway Gardens.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Image duplication after multiple file input Have this issue here: I want to upload several images at once and show them directly afterwards in the browser. Everything is fine. However, doing this on mobile, sometimes I don't get all the images, but duplicates of another one from the file array. I have a suspicion, that this has to do with hardware limitations, since on PC everything works fine, but not on mobile.
Here is the fiddle. You can check it via mobile to see if duplicates appear.
So in result I get this on mobile. It wasn't two images in the selection, only one:

Here I have the Javascript snippet. Is there any room for improvement? Espacially onload processes are really confusing me from time to time. Is there any chance to write it better?
Javascript:
jQuery('.upload-mobile').change(function(){
    jQuery('body').toggleClass( "loading" );
    var imagecounter = jQuery(this)[0].files.length;
    var loadcounter = 0;
    for(var i = 0; i<imagecounter;i++){
        for(var p = 1;p<=12;p++){
            if(jQuery('#preview'+p).length<=0){
                jQuery('.image-collection').prepend(jQuery('

',{id:'preview'+p,css:{'display':'inline-block'}}));
                break;
            };
        }
        var file = this.files[i];
        var reader = new FileReader();
        reader.onload = function(e){
                for(var w = 1;w<=12;w++){
                    if(jQuery('#preview'+w).children().length>0) {

                    }
                    else{
                        var img = document.createElement("img");
                        img.src = e.target.result;
                        img.id = 'img'+w;
                        img.className += " img-responsive";
                        img.className += " border-blue";
                        img.className += " image-small";
                        img.className += " image-cover";
                        img.style.display='none';
                        document.getElementById("preview"+w).appendChild(img);
                        break;
                    }
                }
                loadcounter++;
                if(loadcounter==imagecounter){
                    var count = jQuery('.image-collection').children().length;
                    jQuery('.image-small').delay('1500').fadeIn('3000', function(){
                        jQuery('#image-counter').text(count+'/12');
                        jQuery('body').removeClass( "loading" );
                        if( jQuery('#image-counter').text()=='12/12'){
                            jQuery('#upload-photos').fadeOut('200', function(){
                                jQuery('#three-cube-compact').fadeIn('200');
                            })
                        }
                    });
                }
        };

        var image = reader.readAsDataURL(file);
    }
});

EDIT:
I tried to use the forEach function. I didn't use the for each loops earlier, so I can not say much about the difference between foreach and for. I can't say if it works better or not, but I have seen less duplicates (maybe I didn't check to often to asume good functionality of it). It almost works, but maybe there is another way to make it work flawlessly?
Javascript:
jQuery('.upload-mobile').change(function(){
    jQuery('body').toggleClass( "loading" );
    var imagecounter = jQuery(this)[0].files.length;
    var loadcounter = 0;
    Array.from(this.files).forEach(function (image, index){
        for(var p = 1;p<=12;p++){
            if(jQuery('#preview'+p).length<=0){
                jQuery('.image-collection').prepend(jQuery('

',{id:'preview'+p,css:{'display':'inline-block'}}));

                break;
            };
        };
        var reader = new FileReader();
        reader.onload = function(e){
                for(var w = 1;w<=12;w++){
                    if(jQuery('#preview'+w).children().length>0) {

                    }
                    else{
                        var img = document.createElement("img");
                        img.src = e.target.result;
                        img.id = 'img'+w;
                        img.className += " img-responsive";
                        img.className += " border-blue";
                        img.className += " image-small";
                        img.className += " image-cover";
                        img.style.display='none';
                        document.getElementById("preview"+w).appendChild(img);

                        break;
                    }
                }
                loadcounter++;
                if(loadcounter==imagecounter){
                    var count = jQuery('.image-collection').children().length;
                    jQuery('.image-small').delay('1500').fadeIn('3000', function(){
                        jQuery('#image-counter').text(count+'/12');
                        jQuery('body').removeClass( "loading" );
                        if( jQuery('#image-counter').text()=='12/12'){
                            jQuery('#upload-photos').fadeOut('200', function(){
                                jQuery('#three-cube-compact').fadeIn('200');
                            })
                        }
                    });
                }
        };
        var pic = reader.readAsDataURL(image);
    });
});

EDIT2:
The fiddle was updated
EDIT3:
Added an image of the mobile screen. I also figured out it might has something to do with the file explorer on the mobile device. When I select using the first file explorer, I don't get the duplication bug:

However, by clicking on Browse ("Durchsuchen" on the image), I get to another file explorer. And using that one creates this "duplication bug":

Is there maybe a way to solve this or maybe to disable the Browse button?

redpajama_set_name: RedPajamaStackExchange


text:
ISIS mission reality check: Canada has participated in 4 airstrikes over Syria
By Vassy Kapelos	Global News
Posted September 4, 2015 5:48 pm
Updated September 4, 2015 6:38 pm
WATCH ABOVE: Stephen Harper said military action is the only way to address the root cause of the refugee crisis, the so-called Islamic State. But we haven't heard much about Canada's efforts in quite a while. Vassy Kapelos looks at whether our military effort is making a difference.
Stephen Harper emphasized the role he believes Canada's military must play in addressing the Syrian refugee crisis while speaking at a campaign stop Friday in Whitehorse.
"Obviously, we have been bringing in and we are bringing in more refugees," he said. "We also need to address the root cause."
But while more than 140 Canadian airstrikes against ISIS over Iraq have been consistent, it appears to be a different story in Syria.
Of the 119 coalition airstrikes over Syria, Canada has participated in just four since the Canadian mission expanded to the country at the end of March.
The U.S., which is leading the coalition, has conducted more than 2300 air strikes over Syria.
According to a Canadian Forces' spokesperson, many factors determine the frequency and location of air strikes.
"Be it in Iraq or in Syria, aircraft are assigned on a daily basis by the coalition to targets where ISIS is known to operate, with the ultimate goal of improving the security of Iraq and Coalition nations," Capt. Kirk Sullivan said.
COMMENTARY: MPs return to Ottawa, but with little interest in foreign affairs
In the past, military officials have cited a lack of intelligence on the ground in Syria for the infrequent pace of Canadian air strikes there.
READ MORE: Leaders disagree on action for Syrian refugees after seeing drowned boy photo
Still, University of Ottawa political scientist Roland Paris calls Harper's emphasis on Canada's military role "misleading".
"It's misleading partly because our actual military involvement in Syria in extremely limited," he said. "But more fundamentally it's misleading because addressing the root causes of the Syrian refugee crisis is going to take more than bombing ISIS."
Paris says the crisis in Syria started well before ISIS appeared, as deadly dictator Bashar al-Assad's 2011 crackdown on protesters, during the Arab Spring, spurred a bloody civil war.
"The main cause of civilian deaths and dislocation in that country is the government of Bashar al-Assad," Paris said.
Conservative candidate Chris Alexander isn't convinced the small number of Canadian air strikes over Syria will lessen the military's impact in the region.
'If we were standing on the sidelines and other countries followed our lead, the situation would be worse," he said. "The best way to protect those millions of people is to continue the military effort with our allies."
READ MORE: Here's what the federal leaders had to say about the refugee crisis
Alexander wouldn't rule out expanding Canada's military mission in the future, saying missions "always evolve".
Both the NDP and Liberal Party would withdraw from the coalition's air campaign against ISIS if they win the election, though Liberals say they'd keep Canadian special forces on the ground training local fighters.
Justin TrudeauSyriaISISStephen HarperIraqMilitaryCanadian ForcesTom MulcairRefugee CrisisChris Alexander
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This faux fresh Camellia tree has small, shiny green leaves on multiple branches atop a lifelike trunk. With a slender profile, use this tree where space is limited. The tree is planted in a 13" diameter mache nursery pot, and finished on top with faux Durt.
Tree measures 30-36" diameter x 8' height.


I had ALWAYS wanted 'an old car' but whilst we were rearing a family, that was well out of the equation. After my Mother passed away, she left me with a very small inheritance that we put towards buying the Roadster.
I had seen the car advertised for sale in Unique Cars (the bible for 'old metal' before Just Cars came on the scene) & noticed that it was located in Taree, NSW. It just so happened that I had a mate who went up to Taree nearly every weekend to the property that he was setting up for his retirement, so I asked if he would have a look at the Roadster for me & let me know if it was worth the asking price.
Well, Kevin Hickling did go to check the car out & he rang me straight away as he was leaving Low's place & said "if you don't buy it, I will" so I promptly asked him to leave a deposit on it for Wendy & I! I organised to have a day off work & drive up to look at what we were buying about a week later so Wendy, her mother Gloria & I went up & all fell in love with the car immediately. We purchased the car in June/July 1995 as "an older restoration" from a Susan Low. At the time she & her husband Ian were going through their divorce.
This was Sue Low's car (now Sue Roberts) & both Sue & Ian told us that Sue did most of the restoration on the car & it was Sue who was the member of the Hudson, Essex, Terraplane, Nash & Rambler Car Club (now Hudson-AMC Car Club). From memory, the 'restoration project' had had the Ute treatment as had many of the cars of that era & whilst the Low's were living in Wagga Wagga, they found (most of) the car in Northern NSW - I think around the Armidale or maybe Inverell area. The restoration of the car was almost finished when the family relocated to Taree where they completed the job & used it for outings with the local club.
We have done very little to the car since we have been its custodian & it has always been incredibly reliable. Apart from me having a fuel problem (i.e. lack thereof) a couple of times the only time the car really did let us down was on the first day of the Parkes Rally in 2003 when I had to be towed into Forbes when the gear lever wouldn't allow me to select any gears. As we were heavily involved in the organisation of this Rally I was just going to leave the car on the trailer until we got it back home but fortunately, whilst we were out at an activity on the Tuesday night, a Sydney guy & a Kiwi visitor repaired it for us & we were back on the road again on the Wednesday.
The engine has been becoming somewhat tired & a little rattly for a while now so I guess it is only a matter of time before we face a rebuild. Also, we are presently waiting for a Motor Trimmer friend of ours to do a little bit of a freshening up of the hood & seats.
When we bought the car we were told it was one of only three '29 Roadsters known to exist in Australia. Since then we have seen & heard about at least another 12 but I only know of two that are going & being used regularly - ours (a Smith & Waddington body) & a Holden bodied Roadster in Brisbane with another one in a Museum in South East Queensland. All of the others we have heard of or seen are still awaiting restoration.
Our car is unique insofar as it has two gear levers! One for the 3 speed gear box & the other for the genuine Hudson accessory - the freewheeling box that makes it easy to go in & out of Angel Gear! Who said fuel saving devices are new? This freewheeling box was for use when going down hills so that you can let the engine idle but I certainly am not game to do that - it's hard enough stopping the car at the best of times without being in 'angel'!
We originally bought the Essex as an investment that we could use & enjoy but little did we know just what a great investment that it would be in friendships. We have made many, many great new friends Worldwide since we got the Essex & have found that 99.9% of the people whom we have met in the old car movement are really great to know & spend time with. This fact alone certainly makes the purchase of an old car really worthwhile & I would recommend it to everyone who is that way inclined but remind them that we never really own these cars - we are just their custodians.
Opaline oil. The oil should be changed at intervals as directed in the Book of Instructions. It is recommended that the following grades of Opaline Oil be used.
Lovely to see the period costume when Wendy and Tony go out in the Supreme!


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Asean Today – Dec 2022
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Asean at the crossroads: Reimagining the Asean Community
THE Association of Southeast Asian Nations (Asean) has recovered gradually from what seems to be the most severe phase of the Covid-19 pandemic crisis, but the region remains at a critical moment. New…
Asean FDI surges 42%, back to pre-pandemic level
INFLOWS of foreign direct investment (FDI) in Asean increased by 42% in 2021 to US$174 billion (RM765.6 billion), returning to pre-pandemic record levels, according to the latest Asean Investment Repo…
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Asean – Nov 2022
Asean Today – Nov 2022
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Asean Today – Sept 2022
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Asean Today – Aug 2022
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Indonesia's green-energy export ban puts Asean's power grid plans at risk
When Singapore began importing renewable energy from Laos via Thailand and Malaysia on June 23, it marked a first for both the city state and the Association of Southeast Asian Nations. The project – …
Towards a digital Nepal
Bangladesh's largest solar plant goes online
Asia Set For Rapid Renewable Energy Expansion In 2023
Industries to Watch Out for Growth in Southeast Asia in 2023
Malaysia's economy emerges from the shadow of COVID-19


ARW's Attorney Mr. Cruise attempted to shut down the show due to Hunter Paine physically attacking ARW official Dave Talbott at Rampage. Hunter Paine confronted Mr. Cruise, proclaimed that Talbott provoked him, and declared that SCW's side of the legal battle guaranteed wrestling would happen anyhow. Beau Anderson got in a cheap shot on Mr. Cruise prior to the opening bout.
Arabian Sheik wrestled Sgt. Brooks to a No Contest in a Tables Match when ARW's Max Holiday & Superbad Santana Starks interfered to put both individuals through tables. Hunter Paine & Maverick Cage ran down to prevent further damage.
RK Savage w/Jayy Renae wrestled J. Harris to a Double Countout when Harris speared Savage off the apron onto the gym floor. Neither man was able to answer the official's count. After the bout, RK Savage blasted Harris in the back of the head with a steel chair, and Savage delivered a piledriver & dropped Harris along the edge of the ring.
KarmaKazie (formerly known as Moxie Mollie, who underwent a transformation during the bout) became the first SCW Women's Champion by winning a Fatal 4-Way Elimination Match. Other participants included Amazing Amazon Natasha Crane, Princess Of Darkness Kaci Dillon, & Sriracha Muchacha Paloma Star.
SCW Heavyweight Champion Physical Specimen Maverick Cage wrestled ARW's Bearded Bruiser Max Holiday to a Double Disqualification when both ARW & SCW officials were roughed up by the participants. Cage retained the title on a technicality. Superbad Santana Starks ran down to attack Cage after the match, but Hunter Paine made the save. Hunter & Cage challenged Starks & Holiday to additional physicality, but ARW bailed out.


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Q: Is there a way to keep the content inside a mat-card responsive? Basically I have this  mat-card:
<mat-card>
 <mat-card-content>

        <site-details [site]='siteSource'></site-details>

    </mat-card-content>
</mat-card>

And for each element I have this HTML:

      http://www.{{site._source.url}}.com.br

          <button mat-raised-button color="primary">
            Editar
          </button>

      <button mat-raised-button color="warn"
          (click)="openConfirmationDialog('excluir',site._source.url)">Excluir
        </button>
       <button
            mat-raised-button>Ir ao site</button>

<router-outlet></router-outlet>

The problem is that when I change to the mobile vision my buttons get out of the mat-card:
Is there a way to keep the content inside the mat-card equally responsive?

A: There are a few things going on

*

*you're using table (tr, td) which is not responsive, for responsiveness, you'd have to use divs

*the classes you use are bootstrap classes, which will work with
 if you include the Bootstrap CSS (which i did in index.html)

*the col-sm-6 or col-sm-2 combinations (from Bootstrap) wouldn't work with Angular-material card because the card has a maximum width of 400px... whilst, the col-sm grid classes are applied when the the width is between 576px - 768px

*so we apply the col-[99] classes, since width is less than 576px

*we can override the padding & default min-width for very small screens (card-fancy-example.css) but such designing will be unlike standard angular-material design

check the demo here - note: I removed the router-outlet just to avoid setting up routing for the sample;


RICHMOND, VA -- In the largest show of support for Virginia prisoners in memory, more than 300 people turned out Jan. 20 for the Virginia Rally for Prison Reform on Richmond's Capitol Square.
They came by chartered buses and carpools from Blacksburg and Roanoke, Prince William County and Fredericksburg, Suffolk and Hampton Roads, as well as from the Richmond area. One of the largest contingents was from the NAACP chapter at Norfolk State University.
Many were former prisoners or relatives of prisoners. Some represented prisoner advocacy groups. Others were individuals drawn to the event by the crying need for reform in the Virginia prison system. Several newly seated state legislators were in attendance.
One especially unique feature was that the rally was initiated by a prisoner organization, Virginia Prisoner of Conscience (VAPOC), whose members spread the word among their relatives and friends on the outside. Logistics were handled by the Coalition for Justice of Blacksburg and the Richmond-based Virginia Defenders for Freedom, Justice & Equality.
Co-chaired by Margaret Breslau of the Coalition for Justice and Joseph Rogers of the Virginia Defenders, the rally began with statements from four incarcerated VAPOC members. Statements by some 20 other prisoners were printed, laminated and hung on a literature tent next to the speakers, to be read by rally participants. More than 100 people left their contact information on sign-up sheets at the literature table.
Rally permits for Capitol Square are limited to one hour, so half that time was reserved for former prisoners and people with incarcerated loved ones. A long line formed next to the speakers' area as dozens waited to share their stories.
The all-volunteer effort featured speakers from a wide range of organizations, including Resource Information Help for the Disadvantaged (RIHD), the Angela Davis' Black Girl Coalition, Bridging the Gap, Virginia Raise Up / Fight for $15 and the ACLU of Virginia, as well as Janet "Queen Nzinga" Taylor, a longtime supporter of Rastafarian prisoners held for nearly 15 years in solitary confinement for refusing to cut their hair, and Henrietta Trotter, representing the family of Jermaine Doss, a wrongfully incarcerated prisoner from Norfolk whose request for a governor's pardon submitted nearly four years ago has yet to be answered.
Rally endorsers included A Firm Foundation, Inc.; Abu Unity Foundation; ACLU of Virginia; Richmond chapters of the Democratic Socialists of America and Industrial Workers of the World; First Alliance Consulting Group LLC; Interfaith Action for Human Rights of Washington, D.C.; Leaders of the New South; New Virginia Majority; RIHD; Together We Will RVA; Virginia Prisons Accountability Committee (VAPAC); and Young Virginia Voters Center.
The event was videoed by local videographers Silver Persinger (https://vimeo.com/251993742) and David Martin and live-streamed on the Defenders' Facebook page (https://www.facebook.com/ana.edwards/videos/10156060919023501/).
Participants then marched out onto the sidewalks surrounding the square chanting "Money for Jobs and Education, not for Mass Incarceration!" and "What do we want? JUSTICE! When do we want it? NOW!" The chants got especially loud as the march passed the Governor's Mansion, where newly inaugurated Gov. Ralph Northam has taken up residence.
Later that afternoon, more than two dozen rally participants met at Wesley Memorial United Methodist Church in the city's East End to build on the day's success. The collective decision was to build a statewide network of prisoners, ex-prisoners, prisoner families, advocates and supporters to facilitate communication, publicize prison reform bills, share resources, support each others' struggles and keep these issues in the public consciousness.
For more information and to get involved, contact: justicebburg@gmail.com.


Once you have downloaded and installed the game, and you open the program, select "Multi Player Game".
On the next menu, select, "Enhanced".
Finally, select "Battle.net" as Connection Method, "Warcraft II USA" as Selected Gateway, and click "Connect".
Once you have created an account, you will be in the chat lobby. From there, you can select "Join" to join a game if any are available, or you can select "Create" to host your own.
When creating a game, the standard settings most players currently play are "Top vs Bottom" which allows for you to play only versus other people, though you can also select "Melee" if you want to play against computer players with allies or by yourself.
The most played map is "Garden of War", and the most commonly used speed is "Even Faster".
From the game lobby, you can select your race and move people up or down to Home team or Away team if you are the host, and once you click "Ok", the game will launch!
Happy gaming. If you need any more support with getting started, please join the Discord server in the Contact Support section.


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Home » FourKites Adds New Customers, Improves Time to Value for Real-Time Ocean Visibility
FourKites Adds New Customers, Improves Time to Value for Real-Time Ocean Visibility
Leading real-time supply chain visibility platform FourKites® today announced the appointment of Philippe Salles as VP Strategic Solutions, Ocean, bringing more than 25 years of experience to the company's International Solutions division, which has seen 79% growth in the number of customers year-over-year. Additionally, new customers can now expect to be operational on FourKites' Dynamic OceanSM platform in five days or less, allowing them to see value almost immediately.
"Supply chain visibility has been ocean shippers' top priority for decades," says Salles, who brings experience from CMA CGM, INTTRA and maritime research and consultancy firm Drewry. "Technology can solve many of the data quality issues fundamentally embedded in the siloed systems of container logistics. I have been working directly with international ocean shippers for over 25 years. Now, I'm excited to join FourKites because I've seen firsthand how real-time visibility can significantly improve shippers' operations by providing actionable intelligence."
Salles will work closely with FourKites shippers and carriers to support change management efforts required to improve their end-to-end supply chain visibility. Moreover, he will accelerate time to value for FourKites users as part of the company's "Live in Five" commitment, helping remove operational pain points and maximizing the effectiveness of their systems.
FourKites sees unprecedented ocean momentum
Salles' appointment is the latest leap forward in FourKites' momentum in supply chain visibility for seagoing container traffic. FourKites now tracks 98% of global ocean container traffic across more than 270 lanes and 120 carriers and covers every container port in North America and all major ports in Europe. In the past year, the company has seen:
● 79% growth in the number of customers using supply chain visibility for international shipments, with a 23% jump in Q1 2022 alone
● A 215% increase in the volume of seagoing freight that it tracks across the globe
● 16% growth in the number of global ports tracked, now totaling 804 ports around the world, or 95% of the world's container ports
In addition, FourKites saw 23% growth in new ocean customers in Q1 2022, including Cardinal Health, Arizona Tile, LyondellBasell, McCain Foods, Roehm, Rove Concepts and Yamaha Motors, among many others.
To take one example, LyondellBasell is a top-10 global chemicals producer with operations around the world. The company has been a FourKites customer since 2018 when it began tracking shipments across all modes of transport in North America. In Q1 2022, the company extended its contract with FourKites to cover European multimodal shipments.
Tackling the challenges of international shipping
Booming demand for consumer goods, labor shortages, lockdowns, weather events and more have caused delays and fees to snowball for shippers. The Federal Maritime Commission estimates that from July to September of 2021, eight of the largest carriers charged customers fees totaling $2.2 billion – a 50% increase on the previous three-month period. Meanwhile, according to a FourKites survey, 50% of ocean shippers use a completely manual track and trace process for ocean freight management.
"The challenges ocean shippers face are unprecedented. In response, we've committed to getting customers up and running within five days. We've also made significant investments in our Dynamic Ocean platform – including the addition of FourKites' proprietary Dynamic ETA® technology, with estimated times of arrival that are 20% to 40% more accurate than carrier-generated figures," said Mathew Elenjickal, FourKites Founder and CEO. "Customer feedback has been positive, evident by our growing customer base. With the addition of Philippe, we will continue to deliver value at an accelerated pace."
FourKites' Dynamic Ocean platform helps shippers tackle international document management, trading partner collaboration, booking support and industry-leading tracking that catches late arrivals 2.5 times sooner than carriers. In February, the company introduced new capabilities aimed at helping international shippers identify and mitigate the risks and costs associated with runaway demurrage and detention (D&D) fees. These include new exception dashboards, notifications and alerts; analytics dashboards; the ability to monetize the potential and actual financial impact; and a digital document hub.
Leading global supply chain visibility platform FourKites extends visibility beyond transportation into yards, warehouses, stores and beyond. Tracking more than 2.5 million shipments daily across road, rail, ocean, air, parcel and courier, and reaching more than 200 countries, FourKites combines real-time data and powerful machine learning to help companies digitize their end-to-end supply chains. More than 1,000 of the world's most recognized brands — including 9 of the top-10 CPG and 18 of the top-20 food and beverage companies — trust FourKites to transform their business and create more agile, efficient and sustainable supply chains. To learn more, visit https://www.fourkites.com/.
https://www.fourkites.com
KEYWORDS FourKites
Roehm Partners with FourKites to Offer Customers Unprecedented Real-Time Visibility into Shipments
Food & Beverage Companies Increasingly Turn to FourKites For Real-Time Supply Chain Visibility
FourKites Showcases New Real-Time Supply Chain Visibility Integration with Zebra Technologies


Known as the 'Wise Princess', Anna Maria Luisa de' Medici was the last Medici grand duchess. See where AWA fits in!
Tuscany celebrates one of Florence's wisest women, whose collection boasted myriad works by women. AWA partners with the creative team at the Medici Dynasty Show to celebrate the 'Festa della Toscana' cultural extravaganza on February 28, 2017, thanks to a varied evening of culture, wine-tasting and theater, spotlighting Anna Maria Luisa and the last Medici heirs. All of us at AWA have always been great admirers of the last Medici Grand Duchess Anna Maria Luisa, whose wisdom guaranteed that Florence's art and culture would remain in the city after her death. Her collections were full of art by women. Our founder Jane Fortune's in-progress restoration of her portrait of Palazzo Vecchio has made us love 'the Sage Princess' all the more! After the lecture 'The Transmission of Beauty: the Medici and the Lorraine in Florence, Tuscany and the world', the curtain will rise on the Medici Dynasty Show for an evening of edu-tainment.


Restorante, a new WordPress restaurant theme by developer Gabfire Themes, combines great color combinations with a focus on images, to bring readers an enjoyable website experience. The design uses a simple and complimentary color scheme, and draws the reader's attention directly to the focus of the page – the pictures. The first thing you will see when you go to the homepage of the website is a giant picture of a delicious-looking dish. This is where you should show off your best or most popular dish. Unfortunately, this theme does not offer a sliding picture gallery, so you'll have to choose 1 picture that encapsulates the feel of your restaurant.
Under the picture you will find a short "about us" description, followed by a selection of menus and sub-menus, each with their own thumbnail images. Under that, you will find a "contact us" section, and a "location" section with Google Maps integration, as well as restaurant hours.
Pretty much everything a reader would be looking for is displayed right on the front page, which is a big advantage over several competing themes. Often times readers will not want to "dig" for the information they are looking for, so if it's all on the front page, your readers should be satisfied with the site and keep coming back, both to the site and to your restaurant.
Some of the unique theme features for this particular theme include 2 different category page layouts, custom widget integration, custom page templates, multiple color schemes, and automatic thumbnail resizing. This theme is NOT mobile compatible. Overall, it is a pretty good theme, but it is lacking in certain areas. The focus on images is good to draw readers in, but the lack of a sliding picture gallery and the absence of mobile compatibility hurt the overall performance of this theme.


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Virginia Cannabis Advocates Will Hand Out 10,000 Pot Seeds To Celebrate Legalization And Promote Homegrow
exc-60dcb1aa64b2c00d72d506c8
Cannabis legalization goes into effect tomorrow in Virginia and—as the saying goes—good seed makes a good crop. Advocates are getting ready to hand out 10,000 cannabis seeds on Thursday, July 1 to celebrate the first day of legal pot in the commonwealth.
Organized by Virginia Marijuana Justice (VAMJ), "The Great Commonwealth Cannabis Seed Share" hopes to raise awareness about legal home cultivation, and to draw attention to "holes" in Virginia's new cannabis laws.
The seeds—ovular in form and roughly the size of a peppercorn—are being donated by cultivators and meticulously packed into thousands of small ziplock bags by volunteers.
They will be distributed at three locations around the state: the Rosslyn Metro station in Arlington, Your CBD Store outside Richmond, and a private home in Charlottesville. Those looking to lend a helping hand can sign up to volunteer using this Google form.
In 2015, VAMJ's sister branch in Washington, D.C. organized a similar seed handout to mark the passage of Initiative 71, a ballot measure that legalized possession and cultivation in the District.
"Some people didn't know about the new law, as it pertains to home cultivation, until our volunteers handed them a free packet of seeds," Adam Eidinger, co-founder of DCMJ, said in a press release. "So there is a significant educational component to our giveaways."
In April, Gov. Ralph Northam signed off on a bill that legalized the possession, cultivation, and sale of recreational cannabis in Virginia. The new statute, which goes into effect on Thursday, allows adults to possess up to one ounce of cannabis, and to grow a maximum of four plants per household.
VAMJ says those limits are too low, and fail to take into account the commonwealth's skyrocketing growing demand for cannabis. The group is pushing lawmakers to raise the cap on home cultivation to six plants per person and up to 12 plants per household. In neighboring D.C., adults are authorized to grow up to six plants per household provided only three are mature, meaning they are ready to produce flower.
"We will continue to make our message clear that we want to be free to grow an amount of cannabis to actually meet our needs, and for punitive penalties to be eliminated," said Michael Krawitz, co-founder of VAMJ. "It's unfortunate that we couldn't start out of the gate with more reasonable limits, however, it is a good starting point. Too many people will still wind up in the illicit market to fill the void created by these unrealistic plant and possession limits."
Cannabis won't be completely legal in Virginia on July 1—owning larger amounts of cannabis will still be considered a crime. Under the new law, possessing more than one ounce of pot will be a civil penalty punishable by a $25 ticket, and amounts above one pound will be considered a felony.
Some provisions of the law regarding criminal penalties and retail sales are still subject to change, and will need to be reenacted next year by the Virginia General Assembly. They will also need approval from Virginia's next governor, who is up for election in November.
VAMJ's seed giveaway has stirred some controversy, with some advocates criticizing the event as irresponsible given the still-tentative nature of cannabis laws in Virginia. Last week, an organization with a similar name clarified it was not the group behind the seed event.
"Marijuana Justice would never have the caucasity to give away free seeds on opening day of Virginia legalization, especially since it's not clear in the law," Marijuana Justice Virginia tweeted on June 25.


For this purpose you must fill a small bowl some enamel powder and add some drops of demeniralized (from the supermarket) water.
Always remember that enamel powder and water do not mix like milk in the coffee.
After a short wile the enamel powder will sink to to bottom (it is glass, so its heavier than water).
When applying the wet enamel you have to stirring every time in the wet enamel before getting some wet enamel out of the bowl.
Below the sequence of wet enamel (wet pack).
Mix the enamel powder with deminiralized water.
Place the art piece on a paper towel.
Wen spilling wetpack it will be absorve by the paper towel.
Pick up with the aid of a flat tooth picker or some other tool a little wetpack out of the bowl and start to cover the art piece.
Finish the edges and work to the middle of the object.
Try to work fast as possible and apply the wet enamel on to the copper..
When everything is covered you can tap with the tweezers to the side of your object.
It will distribute the enamel even over the surface.
Pick up your art piece and place it on a firing rack.
Place the firing rack with your art piece on top of the kiln and let it dry..
When the powder is dry, it will sparkle and you know it is completely dry.
Burn it in the kiln.
If you want more than 1 color then you must connect the colors on the last moment.
This prevent the colors to run trough each other.
As an example the apple from the chapter before here on the left.
Now it is made only with the wetpack technique.
All the colors are applied in one session.


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Posts Tagged 'Fight Club'
Flight Club for Storytellers
Posted in screenwriting, tagged Alex Ferrari, Fight Club, Indie Film Hustle, Ira Glass, Jessica Abel, Jim Uhls, Max Landis, screenwriting, Serial, Sheldon Turner, This American Life on August 8, 2016|
"I also think you can learn to be a good writer. Like I was a bad writer, actively bad, and I willed myself to get better."
Shakespeare vs. Ira Glass
If you've never written a screenplay before, today is your lucky day. If you've never worked a day in production, it's your lucky day, too.
This is the inspirational follow-up to the sobering post 10 Quotes on Paying Your Dues where several well-known and accomplished writers talked about the long and winding road to their successes.
Because while there was a common theme of struggle with each of those writers, it is also true that on average they started their creative journeys 30+ years ago. Because of unions, a ton of boomers in place, and Hollywood traditions it was not uncommon for those coming out college 30 years ago to be told to get in line.
But a 22 year old today doesn't necessarily have to get in line anymore. What they need is talent, vision, and access to a digital camera and computer with editing software. There are vloggers in their 20s making a living (and some even making rock star salaries), and a whole crop of teenagers coming up behind them honing their skills and building a audience.
And as far as I can tell, most of them didn't go to film school. And as I listen to more and more podcasts I think there is a whole wave of people inspired by This American Life and Serial, that Ira Glass may be more influential than Steven Spielberg by the end of the decade—if not elected president in 2020.
But let me get back to screenwriting for the time being. Here's some inspirational stuff from Fight Club screenwriter Jim Uhls:
"The advice that I give someone who's going to write their first script is write your first script all the way through. Don't stop. Don't go back and revise while you're in the middle of it. You can make notes, but write forward only, to the words 'The End.' Write the whole first draft. I say that because I want to prevent people from rewriting act one for the rest of their life. And then I say put that script aside—no, [you]can't touch it—write a second screenplay. And write that one all the way through, only writing forward, no going back, all the way until the end. And put that second script aside. Write a third script. Same thing—all the way through until the end. You can make notes, but you can't go back and revise. Put the third script away and take the first one out. Now you're a better writer for just haven written three scripts. You're going to approach the first script as a better writer. You're going to look at it objectively because you haven't looking at it for a while. Now you're going to go back and have a more masterful view of what should be done with that first script. And then you're going to apply the same thing when you go again to the second and third script."
Screenwriter Jim Uhls (Fight Club)
Indie Film Hustle podcast interview with Alex Ferrari
(Alex's podcast is full of solid information on indie filmmaking, including his own micro-budget feature journey—This is Meg—that he's currently shooting.)
And if it will helps take the pressure off, I have quoted screenwriters and filmmakers on this blog who said it's okay if the writing sucks. You don't even have to show it to anyone. (Sheldon Turner said he wrote 11 screenplays before he ever showed any one a single one.) You don't have to go to film school. If you have a desire to write, write. Write those three in a whirlwind like Max Landis and you'll have written those three screenplays by the end of the year—heck, maybe before Halloween.
P.S. And if you don't want to dive into writing a screenplay, then in my next post I'll take a glimpse at Jessica Abel's podcast Out on the Wire and see if we can get you to start developing other kinds of stories this week in whatever unlikely place you live in the world.
Schizophrenic Screenwriting
A Drink Before the Fight—Screenwriter Jim Uhls
'Fight Club'—The First Punch
Start Your Own Writers/Actors Workshop
Don't try and compete with Hollywood—Ed Burns
Bad Script, Good Pizza, Great Feedback (Ira Glass was a producer on Don't Think Twice)
Ira Glass on Storytelling
Pitching with Passion with Professor Peculiar
Posted in screenwriting, tagged Christopher Lockhart, creativeLIVE, Fight Club, Jim Uhls, Mike de Luca, movies The Dialogue, screenwriting, The Screenwriters Toolkit on August 4, 2015|
"A logline conveys the dramatic story of a screenplay in the most abbreviated manner possible."
Christopher Lockhart
The Construction of a Logline (Get this free PDF.)
Today is a mash-up with screenwriter Jim Uhls (nicknamed Professor Peculiar) of comments he made about pitching years ago on The Dialogue interview with Mike De Luca and a CreativeLive class he gave earlier this year called The Screenwriters Toolkit.
"Usually an original idea nowadays in feature films is not pitched—'Oh, we love that idea'—and they pay you to write it. It's rarer than rare. But anytime you're hired to write a feature screenplay, which in this case is usually an adaptation, or some kind of source material. Could just be an idea a producer has, a magazine article or whatever—but whatever it is you have to pitch your take of how you would write this into a screenplay. Pitches of originals come in too. You may need to pitch—not a formal pitch— the [screenplay] you already wrote, to get someone to read it. So the idea of pitching is always there.
"This is a performance of passion. It's not, 'I memorized it.' That's not the best way to go. It's also not somebody speaking in a timid voice begging the listener, 'Please like me and like my idea.' It is, "I'm going to write this thing and it's going to be absolutely fantastic—and I'm writing it anyway. Whether you hire me or not—I'M DOING IT.' Passion.
"Pitching is really classic salesmanship— I hate it actually. It's just not something that comes naturally to me. But I have worked out my own system for what I think a pitch should probably be and I've used it before. And this does come from newspaper journalism where you start with the head line. I think it helps to start off with a title—like a newspaper article has a headline—and give them the log line. And then go into it. It's conversational. 'Let me tell you a story.' Just tell it like you were in a bar.
"Then the first paragraph of a classic news article—I don't know if they're written this way anymore—was a paragraph that told you the entire story. And the second paragraph told the entire story again but with a lot more detail. Or details about one aspect of it. And the third a lot more detail about another aspect of it. And by the fourth paragraph you should be getting close to the end of your pitch. And that covers some of the bigger themes of what it is, and then some kind of capper to get out of it. Between 15 and 30 minutes is probably smart."
Screenwriter Jim Uhls (Fight Club, Jumper, Semper Fi)
P.S. A good exercise in a writing workshop or a high school/college class would be pitching a favorite film of yours. If the pitch doesn't work you at least know that it's not the story's fault.
Breaking Bad Y'all (Vince Gilligan on pitching Breaking Bad)
Screenwriter/Salesman Pete Jones ("I'm getting a little emotional and I shouldn't be, but it's about making the best film.")
'The Best Log Line'—Tom Lazarus ("Log lines are vital in my process of film writing because they force me to distill my idea for the screenplay down to its essence.")
'Juno'—The Logline
'Die Hard'—The Logline
'Star Wars'—The Logline
Posted in screenwriting, tagged Aleks Horvat, Cinephilia & Beyond, Fight Club, filmmaking, Jim Uhls, Mike de Luca, Safehouse, screenwriting, The Dialogue on July 29, 2015| 3 Comments »
According to screenwriter Jim Uhls, reading screenplays—"as many as you can"—is the best way to analytically as well as intuitively learn screenwriting structure. And while he did his undergraduate theater work at Drake University and his graduate work in dramatic writing at UCLA, he doesn't believe that a formal education in film school is imperative to working in the business.
"What [college] gave me was a workshop where I did have plays fully produced, I had scenes that I'd written in screenplay structure shot on video tape so I was able to get immediate gratification, and immediate feedback from other artists. So that kind of environment is valuable, no matter where it is or what circumstances—it doesn't have to be college."
The Dialogue interview with Mike De Luca
Keep in mind that Uhls went to college over 30 years ago and the environment has changed considerably since then. College was not only cheaper, but it was one of the few places you could get your hands on quality production equipment. Nor was there the internet to gain free access to screenwriting and production advice as well as screenplays themselves.
Tuition for UCLA grad school runs $15,582.09 per year. (Other schools can run $40-50K per year. ) Read the article Leaving Los Angeles and consider what it would mean for a writer/filmmaker to have $100,000+ of student loan debt heading into a career in the arts.
Considering today that for under $4,000 you can buy a decent camera, lens, SD cards, tripod, a computer, a microphone, a couple of lights, and editing software and still have enough left over for a couple months subscription to lynda.com— you can get that "immediate gratification" of seeing your work produced by shooting and editing it yourself. Of seeing actors say your lines. And you can do that wherever you live in the world. And if $4,000 is too much buy used gear for $2,000—or find a buddy who already has the gear.
Also, consider starting in your area a writer/actor workshop/lab. Uhls is a founding member of Safehouse in L.A. which consists of working screenwriters, playwrights, and actors presenting material for feature films, TV pilots, shorts films, plays and free standing scenes.
"[Safehouse] is a safe space for writers to workshop their work without any judgment. It's a place where you can feel free to fall flat on your face and no one's going to laugh at you or think less of you. We're going to give you constructive criticism, and whatever you do with that criticism is your business."
Screenwriter (and producer of The Dialogue series) Aleks Horvat
LATimes article by Jay A. Fernandez on Safehouse
"That's why we call it Safehouse. What's wholesome about the group is that we all know that [the writer's looking for input] and we're all helping with that. Everybody's got something to work out in the material they're bringing."
Jim Uhls from the same article
"The idea is that writers bring in about 15-minutes of material from a screenplay, or a play, and they direct the actors in the scenes—in rehearsals—the lines aren't memorized, the actors are working off a script but it's blocked and acted out and afterwards the other writers and actors present that evening will give comments"
Feel free to comment or email me (info@scottwsmith.com) about your workshop experiences, or where there are other similar groups are meeting—especially ones in unlikely places.
P.S. Speaking of unlikely places and learning about film on the internet, believe it or not, the first place you should go is Cinephilia and Beyond (@LAFamiliaFilm) which comes from Zagreb, Croatia. This is what director Peter Webber (Girl with a Peral Earring) says about that site, "I've learned more from Cinephilia & Beyond than I ever did from film school." Since I'm on a run of posts on Jim Uhls, check out Cinephilia & Beyond's Fight Club section where there's a link to Uhls' Fight Club screenplay and audio commentary.
Posted in screenwriting, tagged creativeLIVE, Fight Club, Jim Uhls, screenwriting on July 27, 2015|
"There's an old cliché: 'work smarter, not harder.' As it turns out, the process of skill acquisition is not really about the raw hours you put in…it's what you put into those hours."
Josh Kaufman
The First 20 Hours, How to Learn Anything…Fast
"Those who do not want to imitate anything, produce nothing."
Painter Salvador Dalí
Is it possible to write a screenplay in one day? A feature film screenplay? Even if you've never written one before? Yes, to all of the above. What's the catch? You're not going to write that original screenplay in your head, but one that's already been produced.
You're going to transcribe a film. As in you are writing the script based on an existing movie you're watching on your TV, computer, tablet or phone. (If you happen to be a court reporter that skill could come in handy here.)
I heard this "Transcribe a Film" piece of advice over the weekend from screenwriter Jim Uhls (Fight Club) on a CreativeLive seminar he gave called The Screenwriters Toolkit.
"Here's an assignment for you, transcribe a film. Everybody has a way of pausing and rewinding films as they're watching them—this is a big assignment. It's a big job. But it's a very, very valuable thing to do. When we're writing we're seeing a movie while we're writing our movie. We're imagining it. So that's similar to watching a film, and transcribing what's happening. Don't read the screenplay first and cheat that way. Transcribe it the way you're experiencing it. Put in the slug lines, put in the action description lines, transcribe that dialogue, put in the parentheticals where you think that makes sense. It's a very, very good exercise. And what it will eventually do is create a facility to handle transcribing your own imagination as you're thinking of your film story…You should transcribe the whole film without questions."
CreativeLive seminar/ Vocabulary & Basic Style Rules
That's the freshest screenwriting tip I've heard in the last decade. It should instantly go into the screenwriting advice hall of fame.
Why do I think it's such great advice? Because there are many people who for years have been in love with the idea of being a screenwriter—but they've never finished writing even one screenplay. This fixes that in one day. Granted it's not a screenplay that totally came out of your imagination—but it's a start. (And it might take you all day—as in 24 hours. To help yourself here pick a movie that has a sub-100 minute running time like Pieces of April—80 min., verses The Godfather—175 min.)
But at the end of the day (or the end of the week if you chunk it out) you'll have a feature script you wrote. Then you can track down the screenplay of the movie you transcribed and compare how the screenwriter(s) who got paid to write the screenplay did it.
Then you can begin to analyze how that script is different from yours. But for now we're just going to get it written. (No pressure here. You don't have to show this to anyone.)
If you've never read a screenplay, read a book on screenwriting, or taken a screenwriting class there are just three things I want you to do as you dive into writing your first screenplay; Slug line, scene description, and dialogue.
1) Slug line/ scene headings
This is what's written at the beginning of every scene. Examples:
INT. O'ROURKE'S BAR – DAY
INT. O'ROURKE'S BAR – NIGHT
Does that seem simplistic? Those are slug lines from the Oscar-nominated screenplay The Verdict by David Mamet. There are other slight variations (DUSK, DAWN, AFTERNOON, etc.) but INT or EXT (for interior or exterior) and DAY or NIGHT are the most commonly used.
2) Scene description / action
Example (again from The Verdict screenplay);
Gavin and Laura are in a booth. The remains of a dinner and drinks around them. They are both smoking cigarettes, intent on each other. Both a little drunk.
Four sentences that give you a clear idea of the setting.
(For the sake of economy try to limit those descriptions to three sentences or less. If you have to write more use another paragraph. In writing action movies you may have a burst of short sentences and paragraphs flowing down the page.)
3) Dialogue
Here you're going to just write down the dialogue the characters say. Put the character's name in ALL CAPS with the dialogue under it in the center of the page. (Screenwriting software makes the formatting a breeze.)
Example from Oscar-winning Juno screenplay by Diablo Cody. (Major spoiler alert.)
You can do that, right? Now, there are other aspects of basic screenwriting like parentheticals, transitions, character introductions, capping SOUNDS, camera directions, MORE, CON'T, etc., but unless you already know how to use those just stick with slug lines, scene description, and dialogue.
Here's what those three look like when put together from the start of one scene by Damien Chazelle from the Oscar-nominated Whiplash script.
There are many other nuances involved in screenwriting (structure, subtext, subplots, theme, etc.) but I'm trying to demystify just the core process as much as possible for this assignment. If you have screenwriting software like Movie Magic Screenwriter ($179.95), Final Draft (on sale today for $169.), Highlander ($29.95 and from screenwriter John August and his team) or Celex (free) it simplifies the formatting process, but if you don't just do it in Word or Pages using 12-pont Courier font. Some working screenwriters handwrite their scripts so you can even do that. (It'll just take you a little longer and you won't be able to have the satisfaction of having your screenplay look like a real screenplay.)
While doing this you'll be developing muscle memory. Building confidence. Not getting caught up in analytical aspects—and sometimes esoteric concepts—of screenwriting.
One of the hardest aspects of learning how to surf is actually learning how to catch a wave. And if the waves are 3 feet or bigger it can seem like an impossible task. But go out with a surfer/surf instructor on a calm 1-2 foot day and have him or her give you a little push at the right time and all you have to do is watch your balance and stand up. You won't be Kelly Slater, but you'll be surfing in an hour or two.
Transcribing a film is like that. Just giving you a little nudge before you head out into the big waves by yourself.
And for the doubters out there, this method is in the ballpark of how Oscar-winning screenwriter Quentin Tarantino started his writing career. While taking acting classes he used to write scenes from memory of movies he'd seen. Along the way an acting coach realized that the writing was not only deviating some from the actual movies, but was actually better written in some cases and encouraged Tarantino to begin writing his own scripts.
P.S. The day after I wrote this post I decided to try this out for one scene to see how long it would take. I went to Netflix and landed on indie film Swingers (1996). Using a yellow pad and pen it look me 20 minutes to write out the opening dialogue driven scene. What I wrote lined up within one sentence of the Jon Favreau script. It was a good exercise. If I was typing it could have been done in 10 minutes so I'm guessing it would take anywhere from 6-12 hours to do a whole script.
Related Post: Dumb Little Writing Tricks That Work:Transcribe Screenplays (Scott Myers)
Posted in screenwriting, tagged Brad Pitt, Chuck Palahniuk, creativeLIVE, David Fincher, Fight Club, Jim Uhls, screenwriting, Tyler Durden on July 15, 2015|
"The first rule of Fight Club is you do not talk about Fight Club. The second rule of Fight Club is you do not talk about Fight Club."
Tyler Durden (Brad Pitt)
I'm breaking the first two rules of Fight Club today by talking about Fight Club. But it's okay because it's really Fight Club author Chuck Palahniuk talking about where he got the original idea for his novel Fight Club. (I had never read or heard this account until a few days ago when I watched the movie version and listened to the commentary by Palahniuk and Fight Club screenwriter Jim Uhls.)
"I had gone on a vacation hiking and camping. I'd gotten into a really big fight with some people over noise at night in the woods. Some people who just had to camp right next to our camp—just had to bring some huge radio some 3,000 feet up the Pacific Crest Trail and have some big blow out party in the middle of the night. And I came back to work at the end of my vacation with my face just bashed—like Jack in the urinal next to his boss. My face was so awful, so trashed that nobody would acknowledge it, because to acknowledge it somehow they would have to find out something about my private life they just didn't want to know. So for three months as my face slowly changed color and started coming back to white people would look at my chest, and they would talk to my Adam's apple, and they would say, 'So, how was your weekend? Did you do anything interesting?' And I'd be looking at them with two huge black eyes and say, 'No. How about you/'It just seemed so ludicrous that I thought if you looked bad enough no one would ever dare ask you what you did with your free time, and that was the genesis of Fight Club."
Fight Club author Chuck Palahniuk
The irony, of course, is people often go hiking and camping to disconnect from their everyday worlds and reconnect with nature and have a peaceful experience—unplugged from the everyday noise. Yet if Palahniuk has a peaceful hiking and camping experience he doesn't end up getting in a fight and perhaps Fight Club never gets written.
P.S. A few days ago Jeff Goldsmith (@yogoldsmith) tweeted this; "So @chuckpalahniuk told me he's working with David Fincher & @trent_reznor to do a #FightClub rock opera – an enhanced version of the film!"
P.P.S. Fight Club screenwriter Jim Uhls taught a class on CreativeLive called The Screenwriters Toolkit that is currently on sale for $41. I haven't watched the class, but in general I love what the CreativeLive team produces. And since people often complain about the lack of teaching material by working screenwriters of well done produced films this would seem a good opportunity to fill that void.
Once Upon a Time in Hollywood…(part 7)
Posted in filmmaking, tagged A.S.C., Alien 3, and The Curious Case of Benjamin Buttons, AVID, Facebook, Fight Club, Jeff Cronenweth, KEM, Kodak, Minolta digital light meter, Moviola, Mysterium-X Sensor, Red camera, Red EPIC camera, Seven, Slumdog Millionair, Sony F-900, Spectra light meter, Steenbeck, The English Patient, The Social Network., Walter Murch on October 29, 2009| 1 Comment »
Once upon a time…back in the 80s while in film school I did some assisting for a fashion photographer in L.A. and I noticed that his digital Minolta digital light meter was easy to use and asked a teacher at school why film people didn't use a digital meter. He said the Spectra light meter (that you had to add slides to and make calculations) was the standard for the industry.
Today Spectra light meters are digital, but that's when I first realized how slow Hollywood is to change. In the 90s as non-linear work stations for audio and video editing started to gain ground there was much debate in Hollywood in the role of this technology. Flat bed film editing systems (Steenbeck, KEM, Moviola) were the standard in the industry for decades and many said that would never change.
AVID made a splash at the 1989 National Association of Broadcasters (NAB) basically saying that the future of video editing was about to shift dramatically. There were plenty of scoffers but within a couple years a small number of feature films started to be edited on the AVID and by the mid-90s there were dozens being edited on the system that was said would never replace traditional film editing. In 1996, the first film to be edited on an AVID (The English Patient) won an Academy Award for editing (Walter Murch) and also won best picture. Today almost all feature films and TV programs are edited on an AVID or some other kind of digital non-linear editing system.
The evolution and demise of traditional film and sound editing was actually a fairly slow process because it was expensive at first, untested, and required a new way of doing things. (Plus the streamlined techology of the editing process threatened jobs making it not real popular in some circles. ) I first worked on an AVID in 1994 and instantly loved the way you could try new edits without having to use a splicer and tape. But not everyone agreed with the new way of doing things, and unless he's recently changed Steven Spielberg still edits the old school way and it's worked out pretty well for him.
Cameras have been a little slower in changing over to the digital side. Many independent filmmakers embraced the digital cameras instantly because it eliminated the high cost of film and its related expenses. And just like on the editing side many have said that tradition film cameras would never be replaced. The image of a 35mm film is beautiful and once again that has been the way that movies have been made for over 100 years.
But as the digital cameras improve in quality more and more directors and cameramen and making the switch to the digital cameras. And not just for costs. Star Wars Episode II: Attack of the Clones was shot with the Sony F-900, Slumdog Millionaire was shot with the Viper camera, and both Arri and Panavision also have digital cameras. It's getting harder and to deny the digital shift taking place. But the somewhat affordable RED camera is causing the most excitement for independent filmmakers around the country.
David Fincher came up through the ranks working at ILM and directing music videos before going on to direct Alien 3, Seven, Fight Club, and The Curious Case of Benjamin Buttons. He is currently shooting The Social Network (about the founders of Facebook) which was shot on the digital Red EPIC camera. Here is what he said recently about digital cameras totally replacing film cameras;
"The writing is on the wall. If you don't believe me, I have some stock in Kodak I'd like to sell you, because this is just not the way motion pictures are gonna be made three years from now."
For a more technical explaination here is the cinematographer of that film had to say;
"To say that RED and the new Mysterium-X Sensor is impressive is tantamount to saying that Napalm is a little itchy. The sensor's increased resolution is an obvious bonus but the expanded latitude especially at the high end and the dynamic color range makes this camera a tremendous asset to any cinematographer's arsenal. The Mysterium-X's amazing ability to handle both mixed color temperatures and low light situations affords us exciting opportunities to push the boundaries of our craft."
Jeff Cronenweth, A.S.C.
The chances are good that wherever you live in the United States there is at least one RED camera nearby. You write the script, he or she shoots the film (shoot the digital will never sound right), and see what happens. And, of course, there are plenty of other cameras out there that can do a solid job. But the day is coming where at least from the technical side the same cameras used on Hollywood features will be commonly found in your neck of the woods.


text:
Queer Death, De(con)struction, and Contagion: Affective Rhythms in Interdisciplinary Studies
Saturday, January 2, 2016 - 7:08pm
University of California, Merced/Queer Theory Symposium Committee
Inaugural Interdisciplinary Queer Studies Symposium
Keynote: Eric A. Stanley, UC Riverside
Eric A. Stanley is an assistant professor in the Department of Gender and Sexuality Studies at the University of California, Riverside. Along with Chris Vargas, Eric directed the films Homotopia (2006) and Criminal Queers (2015). A coeditor of the anthology Captive Genders: Trans Embodiment and the Prison Industrial Complex (AK Press, 2011) which won the Prevention for a Safe Society award and was a finalist for a Lambda Literary Award, Eric's other writing can be found in the journals Social Text, American Quarterly, Women and Performance, and TSQ.
What Next? The Episodic and The Serial--MLA in Philadelphia 2017--deadline 10 February
Katherine Fusco/MLA Philadelphia
This proposed special session on the episodic and the serial invites participants to consider the limitations and opportunities offered by episodic and serial forms across a variety of media (film, comics, novels, the poetic sequence, the podcast, etc.). Papers may consider such issues as narrative, temporality, identity, media ecology, and/or technology and aesthetics. To explore our topic, we will use Pecha Kucha presentations, an appropriate format for our subject!
300-word abstract by 10 Feb 2016; Katherine Fusco (fusco.katherine@gmail.com)
Permadeath and Precarity, proposed Journal of Gaming and Virtual Worlds special issue, abstracts due Feb. 15, 2016
Alenda Y. Chang
Journal of Gaming and Virtual Worlds
Proposed Special Issue: Permadeath and Precarity
Due: February 15, 2015
Length: 350-500 words
REMINDER_DUE JAN. 15 Ethos: A Digital Review of the Arts, Humanities and Public Ethics 3.1 (April 2016)
Ethos: A Digital Review of the Arts, Humanities, and Public Ethics
Ethos: A Digital Review of the Arts, Humanities, and Public Ethics—a peer-reviewed, interdisciplinary online journal and digital forum—invites submissions for its April 2016 issue. For this issue of the Ethos journal, we invite submissions of original scholarly work that consider topics relevant to the project's intellectual interests in the arts, humanities, and public ethics. Articles may explore literary texts, film, music, trends in cultural criticism and "theory," or issues of wider social and political concern. Interested contributors are encouraged to browse through our digital archive of forum posts and journal issues to learn more about the range of topics featured on the project.
The 4th Annual MA in Critical Studies Symposium at the Maryland Institute College of Art: April 16, 2015
The 4th Annual MA in Critical Studies Symposium
The Lazarus Center Auditorium
131 W. North Avenue
Baltimore MD 21202
"Reorientations: Alternative Attitudes Toward Space and Self"
Keynote Speaker: Manuel Cirauqui
[REMINDER] Old and New Humanism(s) UNC Graduate Conference-
Saturday, January 2, 2016 - 12:30pm
Department of English and Comparative Literature, University of North Carolina at Chapel Hill
Old and New Humanism(s): Studies in Medieval and Early Modern Culture
Humanism—the renowned contribution of the Renaissance to academic inquiry and creative endeavors—began as a movement to recover the classical past and to explore what it means to be human. However, as a way of living, humanism did not always align with contemporary views on politics, education, religion, and culture. Thus, humanism has been a subject of debate since its origins. These conflicts still reverberate in our own discussions with regard to the pertinence and role of the humanities today.
[UPDATE] All Things Victorian: Exploring Materiality and the Material Object postgraduate conference CFP DEADLINE EXTENSION
Saturday, January 2, 2016 - 10:31am
**CFP with Extended Deadline** 10 January, 2016.
All Things Victorian: Exploring Materiality and the Material Object.
Postgraduate Conference, 19 March 2016
The Centre for Studies in Literature
Dr Nadine Muller (Liverpool John Moores University)
CFP 4th Annual Graduate Symposium on Theatre and Performance Studies at Indiana University [DEADLINE EXTENDED]
Association for Research in Theatre at Indiana University (ART@IU)
4th Annual Graduate Symposium on Theatre and Performance Studies
Hosted by the Association for Research in Theatre at Indiana University (ART@IU)
Replotting Performance
Jon McKenzie, in his 2001 book Perform or Else, makes the prediction that "performance will be to the twentieth and twenty-first centuries what discipline was to the eighteenth and nineteenth, that is an onto-historical formation of power and knowledge" (18).
Dramatising death and dying in British, Northern Irish and Irish drama and theatre
Saturday, January 2, 2016 - 9:55am
dr Katarzyna Bronk
Medieval drama taught its audiences not only about virtuous living but, more importantly, a good death and a joyful afterlife. Miracle plays re-played the most significant and most spectacular deaths known from the Gospels, while morality plays, such as Everyman, imagined the act of dying and the prospects for posthumous happiness of their main characters.
[UPDATE] Literary Form and Reform [Shanghai, 17-18 May, 2016, Abstracts due February 29, 2016]
Nan Zhang; Miles Link, Fudan University
The resurgence of formalist interests in recent years has sparked new discussions of the conception, role, and significance of form in literary and cultural studies as well as pedagogies. In her 2007 PMLA essay "What Is New Formalism," Marjorie Levinson lays out several strains of new formalism emerging in the American academy, which simultaneously embrace a renewal of attention to aesthetic form and express divergent emphases and agendas.