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Part-Time Farmers
December 18, 2012 By Mark Schneider In Financial No Comments
Governments use the tax system to give benefits and/or support to certain sectors of the economy. For example, Canadian farmers receive many unique tax benefits. Issues often arise, however, when an individual has more than farming in his or her mix of business activities. Consider, for example, an individual who was raised on a farm but ventures out, creating a successful career in law, all the while continuing to farm. Should this individual continue to benefit from the full suite of tax incentives for farmers or should he be restricted in his access to these benefits?
The Income Tax Act contains a provision that restricts an individual's ability to claim farm losses if the taxpayer's chief source of income is not farming or a combination of farming and something else. The amount of the farm loss that can be written off against other income of the taxpayer is reduced to an amount determined by formula. The deductible amount is the lesser of the actual farm loss and $2,500, plus the lesser of one-half of the loss in excess of $2,500 and $6,250, plus any deductions taken for scientific research and experimental development.
Three examples illustrate the application of this formula:
Example 1 Example 2 Example 3
Actual farm loss A $2,500 $15,000 $50,000
1/2 of (A – 2,500) B Zero $6,250 $23,750
Lesser of B and
$6,250 C Zero $6,250 $6,250
C plus $2,500
The deductible
portion D $2,500 $8,750 $8,750
Any amounts that are non-deductible because of the application of the formula become restricted farm losses, which can be carried back three years or carried forward twenty years and deducted against farm income realized in any of those years.
This restriction on the deduction of losses will not apply where the farming activity, alone or in combination with other activity, is the taxpayer's chief source of income. Until recently, a landmark Supreme Court decision (Moldowan v. the Queen) set out three criteria that were used to determine whether a taxpayer's farming business was a chief source of income;
measuring the time devoted to farming,
the amount of capital committed to farming, and
the actual or potential profit that could be derived from farming.
The Moldowan case, however, essentially went on to conclude that if farming income was subordinate to other types of income earned by the taxpayer, then the taxpayer's chief source of income could not be said to be a combination of farming and some other source of income. As a result, unless the taxpayer earned only farming income, the farm loss rules would always apply, to restrict the deductibility of the losses from other sources of income.
Over the years, many tax professionals commented that the conclusions in Moldowan around the combination of farming and some other source of income seemed overly restrictive, and in fact some lower courts made decisions inconsistent with the precedents set by the Supreme Court in that earlier decision.
A recent Supreme Court of Canada case, The Queen v. Craig, reconsidered the prior decision in Moldowan and overruled that decision, bringing some additional clarity to the interpretation of the restricted farm loss rules. The Court found that farming could be a chief source of income by itself or in combination with another source of income. Farming need not be the only source of income in order for the taxpayer to claim the farm losses fully against other income.
The facts of the recent case are as follows:
John Craig operated a successful law practice.
He had investment income.
He operated a race horse business (buying, selling and training horses for racing).
The horse racing activities constituted a business — they were neither personal nor a hobby.
Mr. Craig sought to deduct the full amount of farm losses realized in 2000 and 2001.
The Canada Revenue Agency reassessed Mr. Craig on the basis that his farm losses were limited to $8,750 in each of 2000 and 2001 because the horse racing business was a subordinate or sideline business and not his chief source of income. Mr. Craig appealed and won at the Tax Court of Canada. The Crown appealed to the Federal Court of Appeal and lost. The Crown subsequently appealed to the Supreme Court of Canada, which heard the appeal and decided in favour of the taxpayer. The Supreme Court noted that the provision in the Income Tax Act had two distinct elements; to avoid the restriction on farm losses, farming had to be the taxpayer's chief source of income, or the taxpayer's chief source of income had to be a combination of farming and something else.
This is good news for taxpayers who invest a significant amount of time, capital and energy into a farming business while at the same time continuing a separate career. The opportunity to report farm losses without limit will allow faster recovery of the tax shield available from farm losses.
E.O. & E.
This commentary is published by the Institute in consultation with an editorial board comprised of recognized authorities in the fields of law, life insurance and estate administration.
The Institute is the professional organization that administers and promotes the CLU and the CHS designations in Canada.
The articles and comments are not intended to provide legal, accounting or other device in individual circumstances. Seek professional assistance before acting upon information included in this publication.
Advocis*, the Institute for advanced financial education.
(The Institue"), CLU, CHS, FHF.C and APA are trademarks of the financial advisors Association of Canada (TFAAC).
The institute is a wholly-owned subsidiary of Advocis. Copywrite TFAAC. All rights reserved. Unauthorized reproduction of any images or content without permission is prohibited.
Copywrite ISSN 0382-7038
Contributors to this edition:
James W. Kraft, cpa, ca, mtax, tep, cfp, clu, ch.f.c.
Deborah Kraft, mtax, tep, cfp, clu, ch.f.c.
Tags: canada part-time farmers, part-time farmers
Mark Schneider
Mark Schneider is one of Canada's leading Chartered Financial Planners. For over 30 years he has helped hundreds of regular Canadian families grow small fortunes through consistent planning and wise advice. He holds the following designations: CFP, CLU, CHFC, CFSB


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Customer Touchpoints
Departure Control
Micro-apps & Automation
Offer Optimization
Offer Sourcing
Corporate Travel Buyers
Ground, Sea & Tour Operators
Online Travel Retailers
Sabre Labs & Research
Growth & Learning
University Recruiting
Hospitality Solutions Leadership
Travel Solutions Leadership
The hospitality industry has come a long way since the "coaching" inns of medieval Europe. Technology and transportation have advanced to the point that the world has over 21 million hotels. This enormous figure is more unwieldy, as hotel micro-brands proliferate. It's no longer enough for many hotels to just provide a consistent experience and a comfortable bed. It's about a connection to the location. It's about community. It's about merging seamless technology with memorable hospitality. While it's never been easy to be a hotelier, today's landscape is a vibrant and exciting place for hotel professionals.
Tilte A - Z
Title Z - A
Preferred Hotels & Resorts renews successful strategic partnership with Sabre to fuel future growth
SOUTHLAKE, Texas – Jan. 13, 2021 – Sabre Corporation (NASDAQ: SABR), a leading software and technology provider powering the global travel industry, and Preferred Hotels & Resorts today announced the renewal of their strategic partnership through...
Navarino Services chooses Sabre's distribution and retailing technology to power growth and support independent hotels
LONDON, UK and SOUTHLAKE, Texas – October 19, 2020 –Navarino Services has renewed a long-term partnership with Sabre Corporation, after 17 years of using the technology company's SynXis Central Reservations system to power growth in the hospitality...
Sabre announces new Central Reservations agreement with Yukai Resort
SINGAPORE – Sept. 3, 2020 Sabre Corporation (NASDAQ: SABR), the leading software and technology company that powers the global travel industry, today announced a new agreement with Yukai Resort in Japan, which is renowned for its...
Sabre Names Scott Wilson as President, Hospitality Solutions
SOUTHLAKE, Texas – Sept 1, 2020 – Sabre Corporation (NASDAQ: SABR), the leading software and technology company that powers the global travel industry, today named Scott Wilson as president of Sabre Hospitality Solutions, effective September 8....
Hospitality's conundrum: the opportunity to transform vs familiarity of the old normal
Covid19. What is it? Crisis management or future proofing your business? Maybe a bit of both. Here is how you should think about it. Covid-19 has been a game changer, a wake-up call on so many...
Pulling Together to Transform the Impossible into New Opportunities
As we navigate changes to our everyday lives as a result of COVID-19, the health of our many employees and their families remains a top priority. In addition, we stand firmly united and resolute in supporting...
Partnership paves the way for a new suite of lodging services
Our partners rely on Sabre to build out our platform with flexible, data-driven solutions that empower them to expertly serve their own customers. However, the travel industry is incredibly complex and constantly changing, and the lodging...
Alila Hotels and Resorts Drive Personalized Retailing Strategy with Sabre's SynXis Platform
A strategic agreement between Alila Hotels and Resorts and leading technology provider to the global travel industry, Sabre Corporation (NASDAQ: SABR), has helped to enable the luxury hotel brand to record significant incremental growth. Propelled by the need to drive both brand loyalty and individual property personality, the partnership made it possible for Alila to develop a personalized digital marketing strategy for...
Sabre honored with multiple Interactive Media Awards recognizing best-in-class website design for hotels
SOUTHLAKE, Texas – Feb. 14, 2020 – Sabre Corporation (NASDAQ: SABR), a leading software and technology company that powers the global travel industry, is thrilled to announce that it was awarded multiple HSMAI (Hospitality Sales & Marketing Association...
OYO Hotels & Homes Selects Sabre as Its Long-Term Strategic Partner
Sabre Corporation (NASDAQ: SABR), the leading technology provider to the global travel industry, has signed a strategic long-term global partnership with OYO Hotels & Homes. With this partnership, OYO will be connected to almost 900,000 travel...
Small Luxury Hotels of the World™ Growth Powered by Sabre Distribution and Retailing Solutions
One year into its relationship with Sabre Hospitality Solutions, Small Luxury Hotels of the World™ (SLH) is seeing the benefits of connecting with Sabre's industry-leading distribution solutions, allowing it to grow its portfolio and better serve customers. Sabre...
Sabre reveals consumer trends powering "Retail Revolution" across the hospitality industry in 2019 and beyond
Sabre Corporation (NASDAQ: SABR), the leading global travel technology provider, in partnership with TrendWatching – global consumer trends and insights experts – has released a consumer trends study explaining the "Retail Revolution" in the hospitality industry....
© 2003-2021 Sabre GLBL Inc.

redpajama_set_name: RedPajamaCommonCrawl


If you run a business in the UK and your sales turnover is poised to cross over £70,000 in the past 12 months then you should register for VAT courses to learn more about vat rules. You will have to turn into a value added tax or vat registered trader and in such a case you surely need to know much more than simply what is vat.
Once your vat registration has been approved and you receive your vat certificate, then you will need to file regular vat returns depending on the vat scheme that you have chosen. If you run a business in the UK then you will need to follow vat rules set up by HM Revenue and Customs department or hmrc. The hmrc vat department also offers several vat online services including applying for vat registration, filing vat returns and also applying for vat refunds.
In case you import goods into the UK from any eu country that charges vat, where vat has already been charged and paid in that country then you could be eligible for vat reclaim. However, it is best that you be aware of uk vat and eu vat rules and latest notifications before you try for a vat refund since any mistake on your part could be looked upon with much more than disdain from hmrc vat. In such a case you should not only have some knowledge about vat but should also employ the services provided by a capable vat consultant or agent.
Instead of trying to pick up your vat skills from a book, you can easily opt for vat courses that provide different levels of knowledge. You should compare your business needs with the various courses offered by different institutions, including online ones before you make up your mind. If you simply want basic knowledge then you can even opt for a 2 day course where you will be ingrained with basic vat rules including applying for vat registration, calculation of vat, issuing vat invoices, filing vat returns, applying for vat refunds, etc. Although such courses might not go into the intricate details of vat, you will at least have an idea on the functioning of the vat system and its implications.
The fees for such vat courses range from upwards of £100 depending on the vat course that you choose and the level of knowledge provided in that course. In case you import goods and services into the UK from other countries including eu countries then you could also opt for courses that impart knowledge on customs and excise duties and on import vat too. You should also learn more about vat classifications, vat rates and vat exempt goods and services so that you can charge applicable vat rates in your vat invoices. You will also be able to communicate much more efficiently with your vat consultant and hmrc vat officers once you have sufficient knowledge on vat.
It is always better to prepare yourself and your business before you adopt vat since standard vat rates are also poised to change at the start of 2011. Once you embrace vat, you will also need to file regular vat returns, while receiving vat refunds will help you lower your business costs. It is imperative that you attend all related vat courses to seamlessly integrate your business into the system of vat.


Research is conducted for the development of theories and computer codes for the analysis and design optimization of propulsion system structural components. These components can be made from advanced materials, advanced composites, high-temperature composites, and ceramics. The structural components are subjected to complex loading conditions and exhibit nonlinear material behavior that can degrade with exposure to service environments and time.
The research in computational structural mechanics encompasses mainly the development of (1) problem-size condensation algorithms; (2) run-stream data-condensation methods; (3) nontraditional structural analysis; (4) parametric optimization methods for preliminary design; (5) computationally efficient computer codes that use expert and/or artificial intelligence concepts; and (6) the exploitation of the emerging major advancements in computer hardware and software science such as parallel architectures, neural networks, and complexity theory.


text:
Apparently The Thor Hammer Chris Hemsworth Decorated His Bathroom With Found A Brand New Second Home
Mjolnir isn't just a mystical weapon wielded by Thor, whether we're talking about the original Thor Odinson or Jane Foster transformed as The Mighty Thor. It also makes for a nice bathroom decoration, as we learned back in 2018 that Chris Hemsworth kept a copy of the Marvel Cinematic Universe's version of Mjolnir by the toilet in his residence. Almost half a decade later though, word's come in that Hemsworth's Thor hammer has found a second home.
Chris Hemsworth has been making the press rounds to promote his upcoming Marvel movie Thor: Love and Thunder, the fourth entry in the film series and the actor's eighth cinematic outing as the God of Thunder (not counting the Doctor Strange mid-credits scene). While chatting with Access, Hemsworth was asked where his copy of Mjolnir is resting nowadays, and he responded:
It kind of varies in its location from the toy box to the mantlepiece. It quickly gets taken off there and ends up in the bathroom.
The toy box is a logical place for Mjolnir to stay even though it's more high quality compared to the Mjolnir toys sold to the general public, but the mantlepiece is also a fitting location since his time as Thor is what catapulted Chris Hemsworth to worldwide fame. That being said, when interviewer Zuri Hall inquired about why Mjolnir was placed in the bathroom, Hemsworth said his wife and fellow actress Elsa Pataky "demotes" it to there. So the best we can call Hemsworth's mantlepiece is a second home, but its main resting spot continues to be the bathroom, where it's waiting to be discovered by visitors when they need to freshen up.
Of course, nowadays Thor's primary weapon in the MCU isn't Mjolnir, but Stormbreaker, the axe he forged during Avengers: Infinity War. Mjolnir was destroyed by Hela during Thor: Ragnarok, and while Thor (and Captain America) briefly wielded a Mjolnir from an alternate timeline in Avengers: Endgame, it seemed as though the hammer's time in this franchise was done. That was not the case, as Thor: Love and Thunder will see the hammer somehow reforming and ending up in the hands of Natalie Portman's Jane Foster, who, outside of a quick cameo in Endgame, hasn't been seen in the MCU since Thor: The Dark World. Back to Stormbreaker though, now I'm picture that bigger weapon propped up in one of Chris Hemsworth's bathrooms. It would definitely be more obtrusive than Mjolnir.
Along with spotlighting Jane Foster's debut as a superhero, Thor: Love and Thunder will also see both versions of Thor, along with allies like Tessa Thompson's Valkyrie and Taika Waititi's Korg, battling Christian Bale's Gorr the God Butcher. Additionally, Love and Thunder will feature the return of the Guardians of the Galaxy and highlight the MCUs Olympian Gods, with Russell Crowe appearing as Zeus. Along with reprising his directing duties, Waititi also co-wrote the movie's script with Jennifer Kaytin Robinson.
Thor: Love and Thunder arrives in theaters next Friday, July 8. In the meantime, catch up on Thor's past MCU adventures with a Disney+ subscription.
InApparently, bathroom, Bathroom Design, Bedroom Decoration, brand, Chris, decorated, Furniture, Garden Design, Hammer, Hemsworth, Home, Home Appliances, Home Design, Home Renovation, Kitchen Decoration, Living Room Decoration, Real Estate, Swimming Pool Design, Thor
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Eight years ago this day, I launched myself into the wide and far-reaching space of the blogosphere. And Pinoy Transplant In Iowa has been in orbit since then.
Eight years in existence may be deemed a milestone, especially if you consider the fact that according to research (which I also read from a blog), the average lifespan of a blog is less than 100 days. Perhaps I'm just more stubborn. Too stubborn to quit.
Though in all honesty, I seriously thought of walking away last year. I even have a "swan song" article written already, though it remained unpublished. Again, too stubborn to quit.
I am thankful for all of you, my readers and followers. The silent majority of you are not bloggers. The past year has been the most successful year yet, with regards to readership, as I got more than 70,000 visits last year. But I know, that's nothing compared to some popular blogs that can garner that same stats in just a few days. For me, it took me eight years to establish that level of audience. That's fine, Rome wasn't built in one day.
Speaking of Rome, do you know that the Colosseum in Rome took 8 years to build? It was completed in 80 AD. Given the available technology and equipments they have during that time and considering how colossal (sorry, pun intended) that structure was, which can hold 50,000 people, eight years was really not long, but was rather quick. So a period of time can be short or long if you look at it in different perspectives. Anyway, we know that the Colosseum is still standing today after almost 2000 years.
Don't get me wrong, I am not having the delusion that this blog will have the same longevity as the Colosseum. But at least I can say that with the number of visits I have, I can fill the Colosseum in a year.
To all of you, again, I am grateful and humbled for your continued visits.
While we were on a trip in Israel, we stopover for lunch in a restaurant overlooking the Sea of Galilee. Even though it is named the Sea of Galilee, it is actually a lake and not a sea.
Besides enjoying the view, I enjoyed the food there as well. The most popular in their menu being beside the Sea of Galilee is fish of course. And that was what I ordered.
After the meal I saw this sign on a wall.
That is absolutely correct. Be thankful for even the small stuffs in this life. Like a good meal. Or a beautiful day. Or a smile from a stranger. Appreciate the little things. Nothing wrong with this reminder, right?
Except that we must be careful on what we call as "little things" as it could be a slight jab or even a downright insult. Depends on the situation, I guess. You don't believe me?
Well, here's the whole story of this sign.


SFU Community Trust needed to engage a private sector owner and operators for a district energy system serving Phases 3 and 4 of its UniverCity development, a new residential neighbourhood on Trust lands. District energy was seen as a unique opportunity to achieve aggressive sustainability objectives for the development.
As part of this process, Reshape also worked with the Trust and Corix to explore options and synergies for a larger integrated biomass plant serving both UniverCity and the existing Campus district energy system.
Later, SFU engaged Reshape directly to assist in preparing a business case for a combined Central Energy Plant to serve UniverCity and SFU and to assist with all aspects of negotiations with Corix including cost sharing, design considerations, performance guarantees, rate design and rate levels.
As part of the process, Reshape also participated in the review and selection of a biomass system vendor for the Central Energy Plant. Negotiations for a combined Central Energy Plant are ongoing.


Just a quick note - readjusted the ITB once again. I still only get about 10-12cmHg. Sprayed starter fluid around the intake blocks, with no impact. The O2 is set to read about 0.5-0.6V, via the spring and bypass screw. CTS is actually doing what is it supposed to now, after the different CAT.
The car drives perfectly fine with the AC off (taking off from a stop) That explains quite a bit, actually. I guess the hot Houston weather, and keeping the AC on screwed my troubleshooting earlier.
ethirtym the fuel filter is new, dampener looks good. I have a spare set of fuel pumps I could try, but I feel it's a different issue at this point.
How does the car idle? Very smooth and no bumps or misses? You say full throttle is great now with new CAT and is also great from idle to WOT with AC off. Where does the problem area remain?
proctor750 I just meant to post an update, today. Good reminder.
Short update - still no change.
The intake seal blocks are now replaced (ouch $), the little elbow from the ITB to brake booster is swapped too. I went ahead and tested a different ICV, no change. Replaced the transistors in the DME, still the same.
I just got a refurbished AFM from FIC.
Last night, while installing the AFM, i started noticing the following behavior (still no change to the way the engine runs). Reading voltage at pin 5 and 19 i would only get 10VDC. Still about 12-14cmHg. I have to back out the idle screw way out to get about 880RPM.
I went and checked the voltage battery, to only find out 11.3V while running. The battery is AGM, i need to look closer to the specs but that definitely was not a good sign. Swapped it with a battery from one of my cars, and now I have 13V running, and about 12VDC reading pin 5 and 19. I am looking for 50% duty cycle to detect proper closed loop condition.
I have a ground strap upgrade kit on the way - oilpan to chassis, and alternator to starter. I looked into that originally, but with the clogged CAT had that idea slip away.
Few weeks back, I was measuring pin 29 on the DME. I was reading only about 10VDC. I am thinking of simulating 12VDC, to see if the ECU would idle up... any thoughts on that?
Hi, might sound silly, worth checking first that you have the 3 air control leavers on the across to the r/h side to allow air to come out of the vents, there is a switch in behind the control levers which then allows the compressor to engage and idle up to happen. I got caught out with a/c not working last year got donkey deep in to diagrams before I figured out only one was across and the other two close position.
Confirming that the a/c clutch is engaged and turning would be the next step if it is engaging inspect the wiring at the temp switch on the thermostat housing make sure the three wires are intact. one goes to pin 29.
Dave @nz Thanks for the tip. I will try that. The AC does blow very cold!
Installed the ground kit upgrade - Engine block to chassis, Alternator to block, Hood strap, Valve cover to battery tray (coolant expansion tank). Still the same.
A weak pump may deliver enough pressure and flow for low-speed driving but "starve" the engine of fuel when engine speed and load increase, causing the engine to misfire, hesitate, or even stall.
Indicator 2: Your car hesitates or is rough on acceleration.
ethirtym fair point. Worth a shot - i have a spare main and intank pump. Might as well try it at this point. I should probably do before (status quo) + gauge, and after with gauge.
Assuming it's a fuel pump it would be great to have a before and after video of the gauge showing how your fuel pressure reacts to throttle blips and revving - with A/C on.
I just did compression test, last night. All in norm! Should have really done that a long time ago, but I am glad no surprises.
Also dropped off the injectors for clean-up. Earlier in the week tried a known good cap/rotor and wires, and a different set of injectors. Status is the same.
Currently going to try - fuel pumps, ref sensors and harness inspection.
Injectors came back. 1 was failed, and the rest borderline. All cleaned up and restored. And still no change.
Fuel tank seems nice and clean, no residue. I ended up replacing the main fuel pump with a good known. No change. Also eliminated the dampner after the filter, as a test.
I am pending to do the intank pump, but I doubt any improvements.
Two new reference sensors are on order. They might come in today.
Maybe check that your fuel pump's flow rate is within spec, I don't imagine for instance that the new pump or new fuel filter would be bad but I'd want to definitively know I'm getting enough fuel. I don't recall but did you check/change spark plug wires?
What were the compression numbers?
Have you done a leakdown?
Is the injector wiring in good shape? I had to test mine to find it was bad and replaced with a kit from one of the bmw sites.
This must be frustrating. Can I suggest, to try and tackle this in a direct and "scientific" way... If that makes sense. Throwing parts at the problem can be very time consuming and tiresome. Focus on the symptoms. When does it happen? What exactly does it feel like? What revs, load, speed, temp etc. Throttle position? Can it be easily replicated? I had a frustrating problem on my 2.5 build and found it by cintincont to go back to the area where I thought the problem was (TPS) until I finally found the wiring issue.
Think of what sensors and actuators are actually in play when the issue occurs. For example, the 02 sensor (on a stock engine) is only in use during idle and part throttle. So if the issue is at WOT, you know it can't be a problem with that sensor . Unless of course the TPS is sending an incorrect signal to the DME and the DME is thinking it's at part throttle when it should be at WOT. Unfortunately the e30 m3 DME is pre diagnostic capability so you canntc read out live data via the 20 pin diagnosis port. So testing is done old school with a multi-meter and wiring diagrams.
Your problem is eitere mechanical or electrical. Mechanical is fairly easy to determine. If everything checks out there then move onto electrical. Sorry if I am no help but stick at it and finally you will sort it. And it will run very nice once it's fixed.
Yes i did swap the wires along the cap and rotor, with a set from a working car.
proctor750 compression on cold engine, 4 turns was about 170psi all across the 4 cylinders. No, i need to do a leakdown.
basketcase - yes, I agree on the scientific method. I started with tackling this as a vacuum leak problem (smoke test), potentially AFM track, moved on with fuel delivery. Fixed all the vacuum hoses, seals etc. In the process I swapped parts from either my stash of good known, or other working M3s just to validate - TPS, ICV, ECU (new transistors), coil, rotor/cap, fuel pumps. It spiraled out of control.
The problem is very reproducible. I think WOT is not the right terminology anymore. It would act like that even at partial throttle, when the AC is ON. I originally had it as WOT because it would take that much for the car to take off from a stop. The vacuum in at the sync ports remains low, regardless of the load on the engine at idle. I need to install the ref sensors that arrived last week, and then get started with wiring loom checks. Almost take a step back and recheck all my work again - TPS, ICV, AFM voltage.
So just to clarify so we can continue to help - what are the exact symptoms as of today. You have done a lot of work so it sounds like the goal posts have moved a bit.
All times are GMT-12. This page was generated at 11:18 PM.


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PIPER ALPHA 25 YEARS ON
By Louise Thompson
A three-day conference, Piper 25, was held in Aberdeen last week to mark the 25th anniversary of the Piper Alpha oil rig disaster. Chaired by Oil & Gas UK chief executive, Malcolm Webb, it aimed to bring together people from across the oil and gas industry to 'reflect on the lessons learnt from Piper Alpha, review how far offshore safety has evolved since, and reinforce industry commitment to continuous improvement'.
The conference also set out to explore broader safety issues and featured high profile international speakers from a diverse range of backgrounds. Keynote speaker was Lord Cullen, whose report into the tragedy led to major safety changes.
Patrick Phelan, Managing Director of Aquaterra Energy, said: "The Piper Alpha disaster led to 106 industry wide changes in safety practices but this anniversary is a reminder to the industry that we must never be complacent. Safety must be at the heart of all our businesses.
"At Aquaterra Energy we're proud to have an outstanding record in health and safety across our offshore and workplace operations and no Lost Time Incidents (LTIs) in the company's history."
Simultaneously, a new documentary about the Piper Alpha disaster, Fire in the Night, premiered at the Edinburgh Film Festival. The film features testimonials from some of the Piper Alpha survivors.


Protect your iPad from extinction.
The great-looking DODOcase takes a classic approach to protecting your iPad. Inspired by the design of Moleskine journals, the DODOcase is handbuilt in San Francisco using traditional book binding techniques. It features faux leather covers that fold back so you can stand your iPad and watch videos and a wrap-around elastic strap that keeps it snug when you're on the go. The interior housing is constructed from fast-growing, eco-friendly bamboo.
Crafted from sustainably harvested wood.


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Keep it up! These are awesome, as usual!
Though I must say I didn't find the end of CC1 that hard. The worst part about it is how suddenly the difficulty rises. You can't expect it at all, cause of the first 3/4 of the game being so easy.


Lives of the Saints is an innovative version of hagiography, in which the author rethinks the concept of sanctity and the saints according to the most important cataclysms of the 20th century, especially in light of the Second World War. The saints in Granauskas's texts are the simple people of a village, each of whom has to try to survive in his own dark moments: one secretly records the history of murdered partisan fighters; another falsifies family origins to try to win just a bit more of life. This is truly influential and exciting prose, charming in its moderate and calm tone of storytelling, leaving it to historical reality to create special effects, with a quick-paced style and attention to the dramatic circumstances of the times. Basically, the real life of a mid-20th century Lithuanian is conveyed in Granauskas's short stories, which merge into a single tale, overflowing with an original interpretation of sanctity and scenarios of the most various experiences. Keywords: creative and innovative adaptation of 20th century hagiography; masterful storytelling; moderation and coherence of the internal story; detailed character descriptions that recount their tragedy and pain; a deceptively simple and lively style.
Teacher Michelina was not from lowland Samogitia; she came from somewhere in the Highlands and had moved to town the year the German's closed Kaunas University. She was studying there with a certain Povilas Beržonskis, and maybe he was even the one to tell her that the school was in need of a teacher, though certainly there were teacher shortages in the small towns much closer to her hometown. And here, of all places, this backwoods of backwoods where they spoke the strangest of dialects, where you couldn't understand what a child was asking nor what an adult was saying, full of terribly rough people, coarse in their ways. But she didn't leave, and as to why not—well, you couldn't just up and ask her. When she arrived—tall, young, beautiful—all the youngish men sucked in their stomachs, straightened their shoulders, and all the more frequently hoisted up their sagging trousers when they caught sight of her. At first the town's women watched her every move, but there wasn't any point to it: on Sunday, leaving church she would stand a pause under the chestnut with that Beržonskis, talking very quietly, and afterwards, graciously shaking hands, they would part. She would return to her small flat above the post office where she would read. In the evening, when the weather was fine, she'd go out past the town limits and walk along the gravel road, sometimes humming while she walked. The women questioned the parish priest, wasn't she perhaps some kind of secret nun, but his answer was, no.
The postmaster was one of the first ones to be detained. In his albums they found English, American, and Brazilian postage stamps. They wrote him up as a spy and the man disappeared. After that lieutenant Per Bliuska moved in, but he rarely made it home. He spent most of his nights in the cellar at the doctor's house interrogating prisoners. And Teacher Michelina no longer walked out beyond the town limits in the evenings, and she no longer hummed to herself.
And though life in the small town was small to begin with, it now totally withered away, shrank, curled into itself like a nut in its shell. Bread was scarce, as were kerosene and clothing, but the town was not yet short of children and school was in session. Placing her palm over their little hands, Michelina taught them to write "m" and "a" and all the other letters. Later they would grow up into all kinds of (different) men and women, but they all had felt the touch of her palm and smelled the scent of her blonde hair. That hair of hers smelled like sweet-flag, millpond sweet-flag.
Everyone saw and everyone knew what her days were like, but what about her nights?
Both the windows of her flat looked out almost directly onto the town square. In its centre, no, maybe it was closer to one of the side streets that ran into it stood a wooden cross. Two fir trees, already taller than the cross, shone green on either side. If there were firs, those mournful trees, that meant they were there to memorialize some tragic event, she just wasn't aware yet of what that was. Perhaps some volunteer from the battles for indenpendence had died there, or perhaps it was someone else because a fir cannot outgrow a cross in only a few years. And in any case there had been no independence battles near the town, only in 1918, making use of the inter-rule period, four Bolsheviks had created their own "revolutionary" council, but after a few weeks Plechavičius rode in with his men from Seda way and dispersed the little Bolsheviks, pushing the fiercest one out beyond the town limits and shooting him. This she knew from the school watchman.
She did not have beautiful long curtains on her windows, only those light cotton ones that covered half the glass. If you stood on the cobblestones below you couldn't see much of anything, only a patch of the ceiling. And so when she first got up, she didn't have to go to the window to pull the curtains open. Just like that light shone through them the whole day, even though they were closed. She just glanced out the window at the immured grey sky and took an umbrella with her. Down below, on the damp cobblestones, she pulled up short, as though she'd been nailed in place. Of itself her eye caught sight of something white lying under the cross. Two lay there, undressed to their undershirts and barefoot. There was no red blood to be seen. Not on the bodies, not on the stones. The night rain had washed everything away. She averted her gaze, lowered her head, and hurried off towards the school. The whole while she walked she kept repeating without stop: "Don't go and stand in front of the blackboard today, don't go and stand in front of the blackboard today, against the black background the children will see right away how pale and scared you are…" The children themselves were pale and scared, but in time they would get used to it.
Already the very first winter she was there, when she remained after classes on her own in the school left without heat to cut out white snowflakes for the school Christmas tree, the school watchman came in quietly and invited her for tea. He and his wife were a lovely old couple who did everything together: tended the stoves, washed the floors, swept the paths, sprinkled the sand, and they had planted lilac and jasmine under the windows. Almost right up until All Saint's Day dahlias kept blooming in the huge flower bed. The two of them took shelter at the school and their home was always warm and clean and even in the evenings it smelled of freshly washed floors. Perhaps they were the only ones in the village who understood how difficult it was for a young woman to live amongst strangers, and moreover it was winter and the longest night, and even more so her not knowing the dialect everyone spoke around her and always being afraid of making a fool of herself. Perhaps they weren't the only ones who understood all this, but they were the only ones who kept inviting her over for tea. Later she would begin popping by without being invited.
That morning she couldn't start her lessons. She warned the children off going to the square by the cross anymore, told them not to stare at the ones dumped there. Then she went and knocked on the elderly couple's door and without waiting to be asked in sat down, put her elbows on the table, buried her face in her hands and wept. No one comforted or quieted her; she cried until she had no more tears.
"We, Lithuania's volunteers in 1918, we were all recorded. The ones who died, the ones who survived.
She used to really like the smell of freshly washed floors. She would wash her own floors three times a week. Afterwards she would sit doing nothing and daydream. That's how her real home would smell, the one she would live in and grow old in. And may the last scent that reached her be that of cold well water and burning candlewax. And the scent of a bug accidentally crushed in her granddaughter's palm, when she ran in quickly when called from the yard. Now standing next to her bed, hiding her little palm behind her back guiltily.
She'd wash the stairwell too, but only once a week. Washing the stairs was not a very pleasant job. It seemed to her that Per Liuska, who would return home from the doctor's cellar in the predawn hours, could track blood in on his shoes.
The old, widowed teacher lived there before her. One summer's day taking a book with him, he and went off to Prudgalius, the millpond. They found the book on the shore and him already afloat in the water next to the patch of sweet-flag. A death like that during the war didn't seem at all terrible to her. Everything in the flat was as he left it: the furniture, the books, the made up bed, a small frying pan on the brick stove with a slice of bread thrown in it, the bread even bore his toothmarks. She cried when she saw the toothmarks, but then she calmed down: in his own way the old teacher had passed his books and his daily bread to her. Tie it up in a knot and wear it around your neck.
The first time she washed the floors she did her best to reach all of the corners, all the nooks and crannies behind the furniture. There was a narrow gap between the brick stove and the wall; all that fit into the gap was a crumpled trashcan. And that had been pulled out, moulding at its bottom were two eggshells.
She lifted the bucket and placed it upright behind her. That gap had to be the dirtiest place. And it seemed to her that one of the floorboards was aslant, as though it had come loose. "Good God!" she said, horrified.
"The mice will get in through there!" She rattled the board with her fingers, trying to push it to the left, to the right, then pull it towards herself, but there was no way to get ahold of it. When she shoved the teacher's breadknife underneath, it raised up quite easily. Two little wooden spikes protruded from underneath and there were two small holes visible in the floorboard. A gap into which you could stick your hand darkened before her. She easily set the floorboard back into place. Let the hiding place be. She didn't have anything to hide. Yet.
She knew why she was remembering that hiding place now, why she was walking home so slowly across that bridge, why she walked even more slowly across the cobblestones up the hill. They would still be lying there and she would not dare to glance at them one more time. It was enough that she now knew their surnames. She would write them down that evening. She'd also write down that Vaškys had once broken the window at the school and that now, on the 12th day of October, he lay dumped in the town square, shot dead.


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text:
garage / garage 05 / dates \
g-niale 7 \ exhibition - installation \
Radio_Copernicus \ concert - performance \
garage info \ talk - discussion \
archives \ screening /
player \ artists a- z \
review \
handclaps > backups
music documentary film programme curated by Tim Tetzner (D)
About forgetting technologies and technologies of forgetting considering electronic music as example.
Handclaps functions as an interdisciplinary music documentary format oscillating between music, media and art that comments pop music phenomena in a non-liear and associative way.
23.07. pranksters
Practical jokes get played on better in different places than here. Believe it or not. You only have to watch out for Caveh Zahedi not coming to close with his movie with Will Oldman after consuming mushroom while Iain Forsyth and Jane Pollard get on with a remake of the now legendary Napa State Hospital music video of the Cramps. This seems to make as much sense as Charlemagne Palestines legendary travelling around the island and the choir of the University of Wisconsin singing Nintendo themes a capella.
Island Song - Charlemagne Palestine, USA 1976, 16 min
With a video camera strapped to his body, Charlemagne Palestine drives around an island on his motorbike while chanting in true mantra-fashion "Gotta get outta here ... gotta get outta here ..." Palestine's voice dissolves into the sound of the motor, and one realizes the impossibility of escaping from the island. Fatalism spreads. But Island Song can also be seen as a motion study since it corresponds to other works of Palestine from the same period.
File under Sacred Music - Iain Forsyth + Jane Pollard, UK 2004, 22 min
Iain Forsyth and Jane Pollard's File Under Sacred Music is based on a rare video bootleg of legendary garage band The Cramps, which was recorded at a live appearance at Napa Mental Institute, California, way before the band released their first record. The Cramps played this show in front of an audience which consisted of the inmates of a psychiatric ward. For File Under Sacred Music, Iain Forsyth and Jane Pollard put together a band looking uncannily like The Cramps and in coorporation with people accredited from free psychiatric groups as the audience tried to reenact this exceptional event as closely to the original as possible. But take note: This is not a remake.
8-bit Acapella - Univerity of Wisconsin-Choir, USA 2004, 5 min
This short film portrays the valiant attempt of the Univerity Of Wisconsin Choir to interpret Nintendo title themes acapella. During the performance, some of the choir's members play "characters" from games and give ample proof of their abilities as actors in the roles of Luigi or even Tetris-elements. This film has been in "heavy circulation" on the internet, and has been one of the top downloads of the last months.
You have bad taste in Music - Selection, Eman Laerton, 2004-2005, 20min
In Youhavebadtasteinmusic, Eman Laerton, who is both producer and leading actor in this film, goes where being a fan hurts the most: Equipped with a megaphone and dressed in a costume which can only be called absurd, he confronts fan mobs at Linkin Park concerts with the idea of taste, of "good" and "bad" music, without ever outing himself as a provocateur. YHBTM could also work as a slot on MTV, if it wasn't for that pinch of meta-information: "Do not attend this concert, stop listening to bad music, turn off your radio and television!!"
Tripping with Caveh - Caveh Zahedi, USA 2004, 32 min
It is Caveh Zahedi's fondness for experimental setups in films and his love for Will Oldham's music, which makes Tripping With Caveh such a wonderfully intimate concept-feature. Caveh's unusual invitation to take hallucinogenic mushrooms with him is followed by a visit of Will Oldham and two days of a friendly and intimate living together in rural surroundings. We see Caveh and Oldham fleeing from a swarm of hornets, discussing love and coming down together at the pool.
Ariel Pink - Worn Copy Video Selection - Paw Tracks, 2004, 20 min
A selection of videos from the American leftfield-pop shooting star Ariel Pink's first album Worn Copy from 2005 : For Kate I Wait, Trepanated Earth, Life in LA, Lover Boy, Bloody! (Bagonia's), Almost waiting, Beverly Kills
So wrong they're right - Russ Forster, USA 2005, 100 min
So Wrong They're Right addresses a phenomenon largely unknown in Europe: The 8track-collector. The 8track is/was a cassette-like cartridge with
magnetic tape, which used to be a very popular sound storage medium in the US during the 60s and 70s. It was distributed almost exclusively by major companies and thanks to eBay and the internet has experienced a renaissance during the last few years. Its community in America is more active than ever.
Tiny Tim, David Byrne and Gumball are among the collectors portrayed.
28.07. friends
Lakes to the left, castles to the right ... what this series from kraut to German Post avant-garde lacks is certainly an additional contribution of Deadly Doris. This is shown in a different cinema this time. Amongst others, we see Anima on their 1971 trailer tour through Europe and get told about the creation of Charley's Girls by a small girl. After that, an older girl tells us about how she really makes music.
Anima-Sound - Europa Tournee mit 20 km/h - SWF, D 1971, 40 min
Filmed by the SWR in 1971, this documentary accompanies the artists Paul and Limpe Fuchs, their two children and their musical project "Music For Everybody" on a three month long tour through Europe. This they undertook with an old tractor hauling a self constructed trailer, which could be converted into a stage. It enabled them to perform wherever they were (un)invited, be it Munich's pedestrian zone, in front of an audience of miners in the Ruhr District or in the open, under the stars. Their archaic means of transportation also served as their home for these three months. Anima-Sound play their freeform noise improvisations on self constructed instruments, percussion an electronics. As the commentator of the films puts it aptly: "Anima Sound is a form of mental and physical baring."
This film has never been rerun or shown anywhere in public after its initial broadcast on German television in 1971. It is one of the few substantial and totally unique documentaries of the Krautrock-era.
Guten Morgen Hose - Andreas Dorau/Holger Hiller, D 1984, 12 min
A neo-dadaist short opera by Holger Hiller (ex-Palais Schaumburg) with Andreas Dorau playing the lead. The content can be summarized as follows: The film is about the interaction of the spatially isolated Dorau with a woman with trouts, a choir of trousers and a singing carpet, which gets stabbed by Dorau shortly before the latter succumbs to his own madness. This filmic essay can also be interpreted as a proclamation of the end of the so-called NDW's (New German Wave) positivistic era of the, which by 1984 had already passed its commercial
and creative peak.
Charley's Girls - Astrid Heibach, D 2005, 22 min
In this film, the grandson of Franz Bielmeier (one of the Girls' founding members besides Peter Hein and Markus Oehlen) gives an account on the beginnings and the early period of Punk in Duesseldorf between 1977 and 1979 from his own point of view (which is charming and not in the least bit naive). Formally, the is a collage based on Astrid Heibachs photo- and film-archive of this time and functions on many different levels. Plus it is an excellent supplement to Jürgen Teipels' successful documentary novel "Verschwende Deine Jugend" [Waste Your Youth].
Astrid Heibach has been a photo- and video-artist since the seventies. She's been awarded the Deutscher Videokunstpreis [German prize for videoart] in 1992.
How to make music with Niobe - Graw Böckler, D 2004, 10 min
An intimate short feature by the Cologne-based production duo Graw Böckler on the musician and singer Yvonne Cornelus (also from Cologne), who experiments in the fields of electro-acoustic, improvisation and songwriting under the name of Niobe. Cornelus open-heartedly explains the guidelines and criteria with which she shapes her music, without ever dealing in depth with technical parameters.
Poemproducer by AGF - Lars Nagler, D 2004, 6 min
+ Ata Tak Video-Selection
30.07. phasers
This is where it all started: Thurston twice within the picture and the phase shift was there. Anyway, Maryanne Amacher and Bruce Haack are allowed to be portrayed extensively. After all they have brought about many paradigm shifts within their musical micro areas. Likewise Thurston Moore, but he has already gained enough credit.
Haack - King of Techno - Philip Anagnos, USA 2004, 70 min
As composer of extremely bizarre children's records and commercials, Bruce Haack has enjoyed a dubious celebrity. The fact, that before he did all this he developed experimental synthesizers (which alas never made it to production stage) and that he experimented with the techniques of Musique Concrète has been acknowledged only too seldom (the becomes especially evident when put in contrast to the icon that has been made of Robert Moog). In interviews and original footage, the tragic career of this American maverick composer is traced up until his death.
Interview with Thurston Moore on Suicide - Thrill Jockey, USA 2004, 5 min
At age 18, Thurston Moore goes to see the New Yorker electro-Rock'n'Roll-duo Suicide at CBGBs. In this film, he tells how this show had a lasting impact on his musical development. This interview is part of a series of interviews under the title "Looking for a thrill", which tries to get to the bottom of the phenomenon of musical initiation in a phenomenological way.
Day Trip Maryanne - Andrew Kesin, USA 2004, 30 min
Since the late 60s, Maryanne Amacher has been active as a multimedia artist, and has among other things assisted John Cage. Her output as a sound artist in her own right is rather slim and her live performances are rare occasions. One afternoon, Thurston Moore and Andrew Kesin pay Amacher a visit in her studio-cum apartment. This ad hoc meeting is filmed and from this footage Kesin cut a rough shot-on-location under the title 'Day Trip Maryanne'.
Thurston Moore about Day Trip Maryanne - Andrew Kesin, USA 2004, 12 min
Thurston Moore in an interview with Andrew Kesin about the shooting of "Day Trip Maryanne".
Tujiko Noriko - Mugen Kyuukou, How To Believe In Jesus - Graw Böckler, 2004, 4min
The video of Tujiko Noriko from Japan comes alive in the interplay of its three visual planes. The basic shot is a statue of Jesus shrouded in wafts of mist. On it, a catalogue of effects is projected while parallel to that, the names of the effects are given in the top right hand corner of the screen.
06.08. makers
This is a kind of making of which is more than bonus material: After a historic schellack record cut feature and an introduction into stereophony Mika Taanila puts himself into the shallowness of Dutch Muzak production facilities and Alan Zweig portrays a hardcore record collector that strangely dies from his addiction after the shoot of the short movie.
Rca Victor presents Command Performance - USA 1942, 20 min
An industry film produced by RCA Victor in 1942. It shows the complex sequence of operations in the production of a record in the pressing plants of RCA Victor Camden in New Jersey. From the cutting of the matrix and the electroplation with copper, nickel and chromium to the stamper, from the pasting of the label to storage, packing and shipping, every step in the production of this wonderful storage medium is explained.
DVD Manufacturing + Vinyl Cut - Sensemusik, D2005, 10+6 min
Two features dealing with the production process of storage media. DVD Manufacturing explains the production steps from the authoring via the production of a glassmaster to the copies, while Vinyl Cut accompanies all important steps in the process of cutting a record.
Scratch - Christoph Girardet, D 2001, 4 min
Christoph Girardet's FoundFootage-collage loops scenes from diverse films in which a record-player or gramophone appears, while substituting the original soundtrack with a loop from the inner groove of a record.
Rca Victor presents how to listen to New Dimensions in Sound - USA 1957, 15 min
Industrial film produced by RCA to promote the advent of stereo record players in 1957. The film explains in detail the features of stereophony and how sound and acoustics function. This feature is still recognizable as a film meant to advertise a new product, but has retained a lot entertainment value apart from nostalgia. "The remarkable achievements of modern electronic recording make possible the truest reproduction of original musical presentation."
Thank you for the Music - Mika Taanila, FIN 1997, 24 min
In this film, the Finnish filmmaker Mika Taanila gets to the bottom of the phenomenon of Muzak, the specially recorded programmed background music, which is supposed to have an effect on the customers well-being and influence him/her in his/her buying patterns. Taanila conducted interviews with the producers Joseph Lanza (USA) and Theo van Leeuwen (NL) about the possibilities and the shortcomings of functionalized music: He also visits Van Leeuwens houseband, the Paul Natte Orchestra in their Hilversum studio, which for the last 30 years has been the most important production location for Muzak in Europe.
"By taking away the ego of the artists, background music allows the listener to fill in the blanks." - Joseph Lanza
Vinyl - Alan Zweig, USA 2001, 110 min
Being a filmmaker as well as a longtime record collector, Alan Zweig was almost predestined to make a movie on the more or less highly charged topic of collecting vinyl (ok, /and /shellac). Vinyl attempts to answer the big questions about the subject – does it create identity or are collectors just archivists? Is it a utopia or just an escapism of nerds? - by means of interviews. Zweig filmed collectors in an advanced stage of collecting, people whose collections dominate 100% of their day to day life and whose collections demand more time for care and maintenance than is possible. And in a few cases this passion has become quite painful. Taking into consideration that this film was made before eBay made its big impact on record collecting, it is an interesting snapshot of collecting in the good old days.
07.08. grinders
How Circuit Bending can be understood as a purely American outsider phenomenon is not answered by Derek Shybell in his two feature movies. Tom Hovinbøle does not find an answer either in his interview epic but here, as in Skills, his focus is more on the social parameters and the esthetical discourse of a internationally working network that has emancipated from the cynical aphorisms of the Industrial Culture long ago.
Nor Noise - Tom Hovinbøle, NOR 2004, 115min
What started life as a documentary on Norwegian noise-activist Lasse Marhaug soon progressed into a real stocktaking of the international noise scene's present state from Norway to Japan. For Nor Noise, Tom Hovinbøle conducted a dozen interviews about aesthetic, cultural and technical questions and thus generated a straightforward and unpretentious portrait of a self-sufficient and non-commercial subculture and its global network.
Featured artists : Tore H. Bøe (Origami Republika), David Cotner (USA), Masami Akita (Merzbow), Lasse Marhaug (Jazzkammer), Tashimaru Nakamura (Japan), Arm (Aleksander Rishaug, Arne Borgan, Are Mokkelbost), Asbjørn Flø (Oslo), Maja S.K. Ratkje (Spunk, Fe-mail), Kjell Runar Jenssen (DEL), Francisco Lopéz (Spain), Helge Sten (Deathprod) and Otomo Yoshihide (Japan)
Skills - Jan van Hasselt, D 2005, 35 min
A documentary by the filmmaker Jan van Hasselt from Bremen (Germany) which adheres to one of the theories of Villem Flusser. At its center are three of the noise-scene's front performers: Zbigniew Karkowski, bad boy of the harsh and one-dimensional laptop noise; Lukas Abela, Australian extreme performer who for some time has been using contact microphones attached to easily breakable glass among his performance instruments; last not least there's Rudolf Eb.er, Swiss Kung-Fu-teacher with a predilection for feces and a carte blanche for crossing ethic borders. Between the performers' bits, one gets to see a computer pickled in oil and a bad tempered Vampyroteuthis Infernalis, which have been assigned the function of hosts.
What is Circuit Bending? - Derek Shybell, USA 2002, 6 min
Wow and flutter-like clip collage by New Yorker-based Derek Saybel on the impossibilities of Circuit Bending. Children's toys soldered to car horns, cracked consumer electronics plus board'n'pot-madness to eleven provide a foretaste of Saybel's documentary on the annual Circuit Bending meeting BENT in 2004 and show how easily everyday life can be manipulated.
Bent 2004 - Derek Shybell, USA 2004, 60 min (excerpt)
Documentary by Derek Saybel on The First International Festival Of Circuit Bending, which was held in April 2004 for a week in New York. Circuit Bending is a technique which manipulates circuits and boards of consumer electronics, ordinary and cheap musical instruments, keyboards and everything that generates sound. Over the last few years, it has become very popular with the American noise scene. Bent reveals an independent network, whose vital tool is the soldering iron, which it uses very un-nerdy in performances. It is also the most important tool against a culture which is being increasingly dominated by digital media.
JJoyce Hinterding - The amplified music of weather storms and electro-magnetic fields - Brandan Walls, AUS 2003, 10 min
Sydney-based composer Joyce Hinterding works with multiple amplified electromagnetic fields, acoustic phenomena and microtonal traces of sound from the airwaves in her compositions. The documentary shows her at work in the studio and accompanies her on sonic explorations into the unheard. This film was produced as one episode of a six part music documentary series titled "Subsonics", which was produced by Alison & Brendan Walls together with Oren Ambarchi for Australian television in 2001.


text:
Monday, Jun 24 2002
Gay Men Need to 'Reexamine' Acceptance of Unsafe Sex Practices, UCSF AIDS Researcher Says in Opinion Piece
In order to curb the still-rising HIV infection rates among gay men in San Francisco and other urban areas, "gay men need to continue to celebrate sexual liberation," but they also need to "creat[e] a community that embraces the value of caring ... as opposed to one that celebrates an endlessly extended adolescence as the epitome of existence," Thomas Coates, director of the AIDS Research Institute at the University of California-San Francisco, says in a San Francisco Chronicle opinion piece. Since 2000, when data indicated that the HIV incidence rate among gay men in San Francisco was rising, a "credible and effective response to this disturbing trend has yet to emerge" despite "everyone's best efforts," Coates continues. Although new HIV/AIDS prevention programs have been "developed and tried" over the past two years, such programs cannot be effective if they do not have the support of the community, Coates says, adding that by the end of 2002, approximately 900 gay men in San Francisco will have contracted HIV this year, up from 500 in 1997. In addition, the number of new HIV infections among San Francisco's gay community is expected to rise again next year, a trend that is "mirrored" in big cities such as New York and smaller urban areas such as Austin, Texas. Although the majority of gay men practice "safer sex" and use condoms, having sex without a condom is "in" and San Francisco's gay culture does not "plac[e] any value on sexual responsibility," Coates writes. Those gay men who are part of such a culture need to "reexamin[e]" the culture that "seems to applaud, or at best ignore, behavior that makes other people sick" (Coates, San Francisco Chronicle , 6/21).


text:
Q: Databinding only works on Android 10 if it is forced to refresh because the user activated/deactivated dark mode I am trying to allow my user to take a photo and then I'm trying to show him a thumbnail of that photo as proof that it worked.
This all works fine on our test device running Android 9. On our Testdevice that runs Android 10 however, the ImageView never changes it's visibility except if the user changes from day theme to night theme (or vice versa) while my Fragment is in the background because the user is taking the photo. It doesn't work with changing between landscape and portrait mode either.
I suppose this is because if the day/night mode changed, the Fragment is forced to refresh. What I want to do is: Refresh in the exact same way even if the day/night mode didn't change.
my fragments XML layout:
<?xml version="1.0" encoding="utf-8"?>
<layout
    xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:app="http://schemas.android.com/apk/res-auto"
    xmlns:tools="http://schemas.android.com/tools">

    <data>

        <variable
            name="handler"
            type="myPackage.modules.myModule.ModuleHandler" />

        <variable
            name="vm"
            type="myPackage.modules.myModule.ModuleViewModel" />

    </data>

    <androidx.constraintlayout.widget.ConstraintLayout
        android:layout_width="match_parent"
        android:layout_height="match_parent"
        tools:context=".modules.myModule.ModuleFragment">

        <TextView
            android:id="@+id/module_photo_title_text_view"
            android:layout_width="0dp"
            android:layout_height="wrap_content"
            android:text="@string/module_photo_title_text"
            android:layout_marginTop="@dimen/module_photo_title_margin_top"
            android:layout_marginStart="@dimen/module_text_views_margin_start"
            android:layout_marginEnd="@dimen/module_text_views_margin_end"
            app:layout_constraintTop_toTopOf="parent"
            app:layout_constraintStart_toStartOf="parent"
            app:layout_constraintEnd_toEndOf="parent" />

        <ImageView
            android:id="@+id/module_photo_image_view"
            android:layout_width="0dp"
            android:layout_height="wrap_content"
            android:src="@{vm.photo}"
            android:contentDescription="@{vm.photoContentDescription}"
            android:visibility="@{vm.photoVisibility}"
            android:layout_marginTop="@dimen/module_photo_margin_top"
            android:layout_marginStart="@dimen/module_image_views_margin_start"
            android:layout_marginEnd="@dimen/module_image_views_margin_end"
            app:layout_constraintTop_toBottomOf="@id/module_photo_title_text_view"
            app:layout_constraintStart_toStartOf="parent"
            app:layout_constraintEnd_toEndOf="parent"
            tools:src="@drawable/somthing"
            tools:visibility="gone" />

        <Button
            style="@style/button"
            android:id="@+id/module_take_photo_button"
            android:text="@{vm.takePhotoButtonText}"
            android:onClick="@{() -> handler.executeTakePhoto()}"
            app:layout_constraintTop_toBottomOf="@id/module_photo_image_view"
            app:layout_constraintStart_toStartOf="parent"
            app:layout_constraintEnd_toEndOf="parent"
            tools:text="@string/module_take_photo_button_default_text" />

    </androidx.constraintlayout.widget.ConstraintLayout>

</layout>

My Fragment class:
package myPackage.modules.myModule

import android.Manifest
import android.app.Activity
import android.content.Intent
import android.content.pm.PackageManager
import android.graphics.Bitmap
import android.graphics.drawable.BitmapDrawable
import android.os.Bundle
import android.provider.MediaStore
import android.view.LayoutInflater
import android.view.View
import android.view.ViewGroup
import androidx.core.content.ContextCompat
import androidx.fragment.app.Fragment
import androidx.fragment.app.activityViewModels
import androidx.fragment.app.viewModels
import myPackage.MainViewModel
import myPackage.R
import myPackage.databinding.FragmentModuleBinding

class ModuleFragment : Fragment() {

    companion object {
        private const val permissionsRequestCode = 3
        private const val photoIntentRequestCode = 4
    }

    private lateinit var binding: FragmentModuleBinding
    private val vm: ModuleViewModel by viewModels()
    private val sharedVm: MainViewModel by activityViewModels()

    override fun onCreateView(
        inflater: LayoutInflater,
        container: ViewGroup?,
        savedInstanceState: Bundle?
    ): View? {
        //create binding
        binding = FragmentModuleBinding.inflate(
            inflater,
            container,
            false
        )

        return binding.root
    }

    override fun onActivityCreated(savedInstanceState: Bundle?) {
        super.onActivityCreated(savedInstanceState)

        //set variables in binding
        binding.lifecycleOwner = viewLifecycleOwner
        binding.handler = ModuleHandler(this, vm, sharedVm)
        binding.vm = vm
    }

    override fun onStart() {
        super.onStart()

        if (vm.getPhoto().value == null) {
            //set Default value
            vm.removePhoto()
        }
    }

    override fun onRequestPermissionsResult(
        requestCode: Int,
        permissions: Array<out String>,
        grantResults: IntArray
    ) {
        when (requestCode) {
            permissionsRequestCode -> {
                val cameraIndex = permissions.indexOf(Manifest.permission.CAMERA)
                if (
                    grantResults.getOrNull(cameraIndex) == PackageManager.PERMISSION_GRANTED
                ) {
                    startCamera()
                }
            }
            else -> super.onRequestPermissionsResult(requestCode, permissions, grantResults)
        }
    }

    override fun onActivityResult(requestCode: Int, resultCode: Int, data: Intent?) {
        when (requestCode) {
            photoIntentRequestCode -> {
                when (resultCode) {
                    Activity.RESULT_OK -> {
                        val image = data?.extras?.get("data") as Bitmap
                        vm.updatePhoto(
                            BitmapDrawable(resources, image),
                            getString(R.string.module_photo_default_content_description) //TODO change text
                        )
                    }
                }
            }
            else -> super.onActivityResult(requestCode, resultCode, data)
        }
    }

    fun attemptStartingCamera() {
        val cameraPermissionGranted = ContextCompat.checkSelfPermission(
            requireContext(),
            Manifest.permission.CAMERA
        ) == PackageManager.PERMISSION_GRANTED

        if (!cameraPermissionGranted) {
            requestPermissions(
                arrayOf(
                    Manifest.permission.CAMERA
                ),
                permissionsRequestCode
            )
        } else {
            startCamera()
        }
    }

    //src: https://developer.android.com/training/camera/photobasics
    private fun startCamera() {
        Intent(MediaStore.ACTION_IMAGE_CAPTURE).let {
            if (it.resolveActivity(requireContext().packageManager) != null) {
                startActivityForResult(it, photoIntentRequestCode)
            }
        }
    }

}

My Handler class:
package myPackage.modules.myModule

import myPackage.MainViewModel

class ModuleHandler(
    private val fragment: ModuleFragment,
    private val vm: ModuleViewModel,
    private val sharedVm: MainViewModel
) {

    fun executeTakePhoto() {
        fragment.attemptStartingCamera()
    }

}

My ViewModel class:
package myPackage.modules.myModule

import android.graphics.drawable.Drawable
import android.view.View
import androidx.lifecycle.LiveData
import androidx.lifecycle.MutableLiveData
import androidx.lifecycle.ViewModel
import myPackage.R

class ModuleViewModel : ViewModel() {

    private val photo = MutableLiveData<Drawable>()
    private val photoContentDescription = MutableLiveData<String>()
    private val photoVisibility = MutableLiveData<Int>(View.GONE)
    private val takePhotoButtonText = MutableLiveData<Int>(R.string.module_take_photo_button_default_text)

    fun getPhoto(): LiveData<Drawable> = photo

    fun getPhotoContentDescription(): LiveData<String> = photoContentDescription

    fun getPhotoVisibility(): LiveData<Int> = photoVisibility

    fun getTakePhotoButtonText(): LiveData<Int> = takePhotoButtonText

    fun updatePhoto(photo: Drawable, contentDescription: String) {
        //this is to make sure that the content description and photo are ALWAYS set together
        this.photo.postValue(photo)
        this.photoContentDescription.postValue(contentDescription)
        this.photoVisibility.postValue(View.VISIBLE)
        this.takePhotoButtonText.postValue(R.string.module_take_photo_button_alternative_text)
    }

    fun removePhoto() {
        //this is to make sure that the content description and photo are ALWAYS set together
        this.photo.postValue(null)
        this.photoContentDescription.postValue(null)
        this.photoVisibility.postValue(View.GONE)
        this.takePhotoButtonText.postValue(R.string.module_take_photo_button_default_text)
    }

}

A: It didn't work because of what I do in the onStart function and my usage of postValue to set the value of the LiveData objects.
In onStart I reset the photo variable (and some others) if the photo LiveData object currently doesn't have any value in it. MutableLiveData.postValue executes asynchronously and doesn't set the value immediately. When onStart gets called (because it gets started again when the app returns from the camera Intent) the value has not been set yet and it therefore removes it again.
There are two things I could do to solve this:

*

*move the check to set the default values from onStart to onActivityCreated because that doesn't get called when returning from the camera Intent.

*replace the usage of postValue with setValue.

redpajama_set_name: RedPajamaStackExchange


text:
Home/News/Cryptocurrency Discussed On Joe Rogan Podcast
Cryptocurrency Discussed On Joe Rogan Podcast
January 26, 2019, GMT+0000, 21:16 pm
The Joe Rogan Experience is one of the most popular podcasts in the world, and Joe Rogan is widely considered to be a pioneer of the space. Rogan used to host the popular show Fear Factor, but is also widely known as a UFC commentator and comedian, and he has a wide variety of individuals on his guests, from comedians, to conspiracy theorists such as Alex Jones, to some of the most well-known CEOs in the world, such as Elon Musk.
The 51 year-old now has an audience that rivals most TV networks, and has garnered a loyal fanbase of millions. He most recently had Killer Mike on his platform, and they discussed cryptocurrency.
About Killer Mike
For those who are unaware, Killer Mike has been an active rapper for about two decades now, featuring on the iconic duo Outkast's album Stankonia in 2002. He recently has reached a new level of fame as one-half of Run The Jewels, one of the most critically-acclaimed hip-hop groups in recent years.
He is also quite the activist, and is well-known for supporting Bernie Sanders as a presidential candidate, as seen above. He came on Rogan's podcast to promote a new show titled Trigger Warning, a Netflix documentary series.
About The Conversation
Rogan initiated the conversation, asking Killer Mike if he was paying attention to cryptocurrency. The rapper admitted that he wasn't too familiar with the space, and had just gotten into stocks.
Rogan then spoke about how he fascinated about the idea of a "decentralized economy". He elaborated that it was interesting to think about currency that was outside of the control of banks, and how a currency could exist that wasn't affected by local exchange rates. He concluded that if true decentralization was achieved, "it would be a really different world."
Neil Mathew
Neil Mathew is a writer and trader that believes cryptocurrency has the power to change the world. He's written for various publications and is excited to continue to share his knowledge of the markets as much as possible.
News /September 5, 2019, GMT+0000, 19:42 pm
Apple: We Think Cryptocurrency has Interesting Long-term Potential
At a recent event in San Francisco, Apple Pay vice president Jennifer Bailey c ...
Blog /March 18, 2019, GMT+0000, 12:33 pm
Everything You Need to Know About Cryptocurrency
Bitcoin was the maiden cryptocurrency that emerged in 2009 and even after a sp ...
News /February 25, 2019, GMT+0000, 7:51 am
Cryptocurrency Exchange Huobi Australia Shuts Up Shop; More Crypto Job Losses
The relentless cryptocurrency bear market has claimed yet another victim. This ...


text:
Rock Music Artwork – Sun Studio Print
Home » Art Prints » United States » Rock Music Artwork – Sun Studio Print
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This rock music artwork captures the legendary Sun Studio. This little building is often referred to as the birthplace of rock music. That may be selling it short as it was the birthplace of much of modern music from Rock n Roll, to Rockabilly, R&B, and more. A wide array of musical artists recorded here during the heyday of Sun Studio. Many of those artists are still well known today but in this particular Memphis print, I chosen to recognize one of the larger than life artists who recorded here at the very beginning of his career. The pink Cadillac parked at the door should no doubt stir memories of the king himself, Elvis Presley.
I wanted this rock music artwork to capture more than just a landmark. Mind you, in the pages of music history, this is a significant landmark. Of that there's no question! I wanted an echo of the legend and colorful history of this corner of Memphis. Since it was completed, I think this particular piece has resonated both with people who lived through this era of music history as well as those who love an artistic representation of the heritage of music from the very building that birthed rock 'n' roll music. There's a very dreamy aspect to this artwork.
I suspect a fair number of people have gotten this particular rock music artwork print as a souvenir after a pilgrimage to Memphis to experience the musical heritage of the city. I'd love to know how many of you came here searching for a keepsake for yourself or as a gift to someone who has been? In the past whenever people look at this Memphis print, I either here about a trip to Memphis they took or still dream of taking. Not to mention the many people who have mentioned fond memories of living in Memphis. I think there's an element of nostalgia in this rock music artwork that speaks both to people who love the history as well as people who have sentimental feelings for the place. The fact this artwork seems to bridge those interests makes me proud.
Please do pause to share what your thoughts are about this Memphis art print? Did you find yourself here because you were looking for a memento? Or perhaps you're a fan of Sun Studio or Elvis?
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SKU: 5100 Print Collection: United States Art Prints Print Subjects: Americana Art Prints Architecture Prints Classic Car Prints National Register Of Historic Places Art Prints Sun Studio Prints World Culture Art Prints World Landmarks Art Prints


NCMA curators, conservators, and educators are experts in their respective fields and engage in ongoing research. From object-based examinations to provenance research, they're always discovering more.
Provenance, or the history of ownership, is an essential tool to the understanding of a work of art. Knowing the first owner or the original location of a work of art can help clarify the artist's intention or deepen our interpretation of the work's meaning or influence. Equally significant, documenting the provenance of a work of art can help confirm legal ownership. This has become acutely important in recent decades as we have learned full story of the vast and systematic theft of cultural property committed by the Nazi regime between 1933 and 1945.
NCMA curators have identified all works in the permanent collection that either changed hands in continental Europe between 1933 and 1945 or have gaps in their provenance during that period. These works have been duly posted on the Nazi-Era Provenance Internet Portal (NEPIP) administered by the AAM, a searchable database of art in U.S. museum collections with unresolved provenance for 1933–45. It should be noted that the NCMA has no reason to believe that any of the posted works of art were involved in the Nazi looting of European private and public collections. Works of art often pass from one owner to the next in ways that are legal if difficult to trace. Nevertheless, research is ongoing, and new information on provenance will be updated on this website, with the NEPIP, and in future NCMA publications.
The North Carolina Museum of Art recognizes the role of antiquities as cultural emissaries for the history, ideas, and personalities that shaped the modern world. We feel that it is possible to collect responsibly, respecting the intent of laws, regulations, standards, guidelines, and executive orders on cultural patrimony, including but not limited to those of the American Alliance of Museums and UNESCO (Convention on Cultural Patrimony, 1970). We deplore the looting of archaeological sites and are determined to seek verifiable provenance for any object under consideration for acquisition. We submit all objects for review by appropriate registries, such as the Art Loss Register. While it may not be possible to trace every object to its origin, we will exercise due diligence with dealers, collectors, or any other source. After extensive ownership research, antiquities proposed in good judgment for acquisition without a complete provenance must be shown to meet the criteria for the acquisition of antiquities as recommended by the Association of Art Museum Directors (AAMD). Once accessioned, these objects must also be posted publicly on the AAMD Object Registry.
As required by the NCMA's Collection Management Policies, the provenance of all works of art proposed for acquisition must be thoroughly investigated by the curators and a satisfactory report made to the Collections Committee of the Board of Trustees. If, after diligent research, the provenance of the work remains incomplete, the curators and director must determine with a high degree of confidence that the incompleteness of provenance is not serious before an acquisition can proceed.
All queries or information relating to the provenance of works in the NCMA collection should be directed to John W. Coffey, Deputy Director for Art, via email or by phone (919) 664-6759.