text:
What are the delays in Google and Amazon in the blockchain? Actually made the late Facebook reputation
On July 25, Zuckerberg sent a message responding to regulatory issues regarding the Libra project. Prior to this, Facebook as a technology giant, its stable currency project Libra has been widely public and regulatory attention.
In terms of sound volume, it is even more than one that has begun to lay out the blockchain field in the early days of Amazon, Google and other companies.
In fact, Facebook, like Amazon and Google, has broken the power center of information dissemination and established another centralized center for monopolizing data and information. But when the wave of decentralization of blockchains hit, these tech giants had to start embracing blockchain technology.
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Mutual chain pulse observation, in GAFA, in addition to the amount of information that Apple is involved in in the blockchain field, Facebook and Amazon, Google are actively deploying blockchain, and the competition between them is fierce.
But at present, it seems that Facebook's blockchain project is more familiar. Amazon and Google are early in the blockchain field, and their blockchain projects are rarely known. Recently, well-known research institution Gartner released the world's leading public cloud vendor blockchain service capability report. Amazon and Google ranked fifth in the global blockchain cloud service capability rankings after Microsoft, Alibaba Cloud, Oracle and IBM. Sixth, the results of the blockchain business do not seem to be ideal.
Amazon takes the first step in Google's low-key storage
If the current attention of companies in the blockchain field, naturally, after the Libra white paper was released on June 18, Facebook, which has attracted the attention of the blockchain field and national supervision, has the highest popularity, and it is quite late.
However, from the perspective of time, among the three companies, Amazon was first involved in the blockchain field.
In May 2014, shortly after the announcement of the lack of encryption, Amazon acquired digital currency-related patents for the payment of cloud computing services on Amazon Web Services.
In May 2016, Amazon's AWS (Amazon Cloud Service) announced that it will work with blockchain startups and financial institutions and launch a series of applications that promote blockchain technology to provide professional technical support and infrastructure to corporate customers.
Since then, Google has followed Amazon to provide cloud services to developers who need to test bank blockchain technology. But Google is still a little behind on this track. Google co-founder Sergey Brin also said at a conference that Google missed the opportunity to lead in blockchain technology.
However, Google is still trying to catch up with the road and catch up with the acquisition. According to CB Insight's report "The most active corporate investors in the blockchain sector between 2012 and 2017", between 2012 and 2017, Google was the second largest investor in the blockchain sector, behind Softbank.
At this point, Amazon and Google's blockchain competition is basically a low-profile power of the giant; and Facebook has not yet intervened.
2018: Facebook rings the giant block block battle drum
Until 2018, Facebook will enter the blockchain field in a big way, and it will be officially ringing the drums.
At the beginning of 2018, Facebook banned cryptocurrency advertisements on its social network; in March, Google was pressured by Canadian regulators to follow Facebook's ban on digital cryptocurrency ads in June. At the end of June, Facebook relaxed its ban on encrypted advertising, allowing some ads to be placed; in October, Google completely lifted the ban on cryptocurrency.
The behavior of the two companies to regulate and sometimes relax the cryptocurrency advertisements seems confusing, but in fact it can be regarded as the "original clear source" work carried out by Facebook and Google in the development of the blockchain stage.
But while controlling cryptocurrency ads, Google has also opened a more active blockchain layout, and in the first quarter of 2018 has advanced a number of blockchain programs.
In February 2018, Google Cloud data analysis engine BigQuery imported bitcoin data; at the same time, Google invested in a distributed cloud storage service provider called Storj Labs, which wants to use StorjLabs' point-to-point encryption storage solution to increase the security of cloud files. .
On March 22, 2018, Google filed a patent application with the US National Patent Office, which was related to the use of the blockchain platform to protect the security of user account data. On March 23, Google announced the enhancement of its security system. The system includes a series of features such as blockchain technology; on March 26th, Google announced two independent blockchain projects: the "tamper-proof" audit system and the cloud operation platform.
Since then, in April 2018, Amazon and Facebook have also acted in the blockchain field.
Amazon AWS launched a blockchain template (ie BaaS platform), deployed Ethereum and Superbook Hyperledger Fabric framework, focused on building blockchain applications; Amazon is still submitting a patent on "Streaming Data Market" Clarified the possibility of data monitoring of the flow of bitcoin. This technology was approved by the US Patent Office in May of the same year.
On Facebook, or affected by the data breach in March, in response to the development crisis, the strategic layout of the blockchain field began. But compared to Amazon and Google, which have practiced blockchain extensively, Facebook started slightly later.
Zach Burke said in the "Personal Year Challenge" in April: Considering blockchain technology in 2018 to prevent Facebook from becoming over-centered. He believes that encryption technology and cryptocurrencies can be "decentralized", taking power from the centralized system and returning it to the people. Prior to this, Zuckerberg never expressed his attitude towards cryptocurrency so clearly.
Then in early May, Facebook recruited and recruited the internal restructuring department, adding a blockchain team; this move is seen as the beginning of the Facebook layout blockchain field. Then there was news that Facebook was exploring to create its own cryptocurrency.
In the third quarter of 2018, Google also accelerated its cooperation with blockchain companies and the development of blockchain tools.
In July 2018, Google Cloud partnered with blockchain company DigitalAsset to launch a blockchain toolkit; in August, Google partnered with BlockApps, a company that has a blockchain BaaS platform; in September, Google launched an analysis for Ethernet A new plugin for the blockchain.
In the blockchain field at the end of 2018, the final big move came from Amazon. In November, Amazon announced two blockchain services, the chain ledger database and the Amazon management blockchain.
2019: Facebook comes from behind
In 2019, Google and Amazon continued to promote the development of blockchain business. In February, Amazon announced a joint effort with Komodo to develop a tool called Chainlizard that would create a blockchain network in just 60 seconds. The alpha version is released, and the full version will be released in the second quarter of 2019. The tool will include a block resource manager and a software wallet. At the same time, Amazon also launched digital identity management and block with MasterCard and Accenture. The "circular supply chain" realized by chain technology.
Also in February, Google Big Data Analytics platform BigQuery joined the Ethereum Classic ETC web plug-in to search ETC blockchain data in all of Google Cloud's BigQuery products. In March, Google added a user interface that simply searched for cryptocurrency information on search sites to facilitate cryptocurrency investors.
In May 2019, it was reported that Facebook was recruiting dozens of financial institutions and online merchants to help its huge social network launch a cryptocurrency-based payment system. On June 18th, the Facebook cryptocurrency project Libra official online line, the white paper was released. Facebook's popularity in the blockchain field has caught up with Amazon and Google.
Although during this period, Amazon officially launched a blockchain service in May, called "Amazon Managed Blockchain" (AMB), the project is fully hosted on the Amazon cloud computing platform services; at the same time, Amazon also received a Related patents for blockchain. In June, Google announced that it will integrate the Chainlink (LINK) service in Google Cloud to enable Google's BigQuery data to be transmitted securely and reliably to the Ethereum blockchain.
But the focus of the blockchain area is still on the early recruitment of Libra members, the launch of the Libra white paper and the official website, and the subsequent regulatory dynamics for Libra.
Blockchain intersection: Amazon, Google cloud computing, Facebook choose cryptocurrency
Mutual chain pulse observation, although the three companies are in the blockchain field, but unlike Facebook's involvement in the cryptocurrency field, Amazon and Google are more inclined to use blockchain technology to consolidate their respective positions in the cloud computing field. Blockchain applications are mainly oriented to It is also a customer of cloud services.
(Cartography: Interchain Pulse)
According to the above table, it is not difficult to see why Facebook is developing rapidly and its influence is greater than that of Amazon and Google blockchain. Facebook's strength in the blockchain field is relatively "disjointed" from its main business, unlike Amazon's and Google's blockchain business, which is based on and maintains its own cloud computing business. It is the cross-border nature of the Facebook blockchain project that has led to the formation of an independent blockchain team, the recruitment of professional blockchain practitioners, and the expansion of blockchain areas that meet the needs of more users, thus forming a latecomer. On the form.
In addition, the inter-chain pulse observation, the same as the development of blockchain cloud computing in the field of Google, is slightly different from Amazon's development, and its layout in the blockchain field also includes the audit platform. In March 2018, two independent blockchain projects announced by Google included the "tamper-proof" auditing system and the cloud operating platform.
But in terms of building the BaaS platform, Google is later than Amazon.
In April 2018, Amazon released the AWS blockchain module for people or businesses that wanted to try the blockchain. This module makes it easier for developers to create projects based on the Ethereum and Linux Foundation HyperledgerFabric. In May of the same year, Amazon AWS partnered with blockchain technology to launch a blockchain solution called Kaleido that made it easier for Amazon Cloud Services customers to use blockchain technology. Kaleido is the first BaaS based on the Ethereum network in the AWS shopping basket.
At this time, Google is not far behind. According to news in August 2018, Google will cooperate with BlockApps, a company with blockchain BaaS platform, and may develop its own BaaS platform. However, the inter-chain pulse observation, as of now, Google has not yet launched the BaaS platform.
The main trend of Google in the blockchain field is that in 2018, Google Cloud released Bitcoin and Ethereum blockchain transaction history data sets. In February 2019, Google announced that in addition to a more in-depth query set, it will release six other data sets, including Bitcoin Cash, Dash, and Dogecoin. These query sets support multi-chain analysis and traditional financial record processing systems. Integrated together.
Unlike Amazon and Google, which compete in the cloud of blockchain, Facebook seems to be on the road to a less competitive but more difficult blockchain. Libra was opposed by the regulators of various countries and attacked by the US president. But there are also views that the US president supports Facebook. (See the article "The world is taking a path that has not been taken: the US president does not support Facebook Libra, is it true?")
Perhaps because of this, the technology giant is also eager to move in the field of cryptocurrency.
As early as 2013, Amazon snapped up the domain name of amazonbitcoin.com and directed it to the Amazon homepage; in 2017, Amazon bought three more cryptocurrency domain names. Some people pointed out that Amazon's move is due to the protection of the brand; but some people speculate that Amazon is going to enter the field of cryptocurrency. However, the company has not yet released a potential plan to accept cryptocurrencies.
In fact, at present, both in foreign countries and in China, technology giants have been deeply deployed in the blockchain field. However, the future development direction is the fast-growing cryptocurrency field selected by Facebook, or the construction of the BaaS platform that Amazon continues to deepen, waiting for the giants to explore.
Facebook, Google, Amazon blockchain memorabilia:
This article is [inter-chain pulse] original, the original link: https://www.blockob.com/posts/info/18962 , please indicate the source!
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text:
Q: Declaring variable vars inside a PHP class? I am a noob with OOP, and would appreciate some help on what must be an exceedingly simple problem.
In non-OOP PHP, I would do this:
$fruit = banana;

function showFruit(){
  global $fruit;
  echo $fruit;
}

This would print "banana", and I could define the variable outside of the function without issue.
How about in a class?
$fruit = "apple";

class showFruit(){
  var $string = ?????;
  // Functions here...
}

Thanks!

A: Is this what you're looking for?
class foo {
    private $fruit = "apple";

    public function showFruit() {
        echo $this->fruit;
    }
}

$foo = new foo();
$foo->showFruit(); // Prints "apple"

Demo

redpajama_set_name: RedPajamaStackExchange


text:
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The Global Fund Praises Botswana's Move to Uphold Rights of LGBT People
GENEVA – The Global Fund to Fight AIDS, Tuberculosis and Malaria welcomed a landmark ruling by the High Court of Botswana to remove legal provisions that have led to discrimination and violence against lesbian, gay, bisexual and transgender people.
The Global Fund strongly supports all efforts to promote and protect human rights and gender equality, and is committed to removing legal and other barriers to health services. Taking action to reduce discrimination and stigma is an essential part of ending the epidemics of HIV, TB and malaria.
"We stand together with the community leaders, civil society organizations and all supporters of human rights who contributed to this legal breakthrough," said Peter Sands, Executive Director of the Global Fund. "Botswana is showing great leadership, and this is an important milestone. Together, we can remove human rights-related barriers to accessing health services across Africa."
Activists and community leaders in Botswana highlighted the human rights challenges posed by outdated laws that led to increased stigma, discrimination and violence against LGBT people. Among other things, criminalizing sexual relations can stop people from accessing and using HIV prevention, testing and treatment services, and increases risk of acquiring HIV.
Botswana's High Court ruling this month declared unconstitutional legal provisions that criminalized same-sex sexual relations, a legacy of anti-homosexuality laws established in the colonial era. In a unanimous decision, the court found that Botswana's "sodomy laws" violated privacy, were discriminatory and served no public interest.
"When a decision like this is made, it creates a platform for discussion in other countries – a springboard for change in the region," said Nana Gleeson of the Botswana Network on Ethics, Law and HIV/AIDS. Now the real work starts, she said, to translate the change in the law into change on the ground.
Gleeson said that Lesbians, Gays and Bisexuals of Botswana (LeGaBiBo), used expert legal advocacy to make strategic interventions that helped lead to this court decision, and that evidence from key population programming made a significant difference.
The Global Fund joins partners to address human rights- and gender-related barriers to health and to respond to the needs of key and vulnerable populations everywhere.
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redpajama_set_name: RedPajamaCommonCrawl


Here are some pictures of small purses I made for a special order. As my deadline was getting closer, I just had time to take these quick pictures. Pfffew!
Luckily, I have enough fabric to make more!
C'est tout à fait charmant!


The White Sutton Syndrome Foundation was established in the spring of 2018, by two couples that both had young sons who had been diagnosed with White Sutton Syndrome (WHSUS). When they started the foundation, WHSUS was very rare and it was difficult for the parents and loved ones of those with WHSUS to find each other. There was also an information vacuum about WHSUS, unless one was committed enough to hunt down and read jargon-heavy articles in medical journals.
The founders saw an opportunity to step into this gap and provide some of the answers, clarity and community that many were searching for. Having faced the long road to a diagnosis themselves, they understood how lonely that road could be and how desperately many longed for answers. They empathized with many who were aching for a clear, concise explanation of what their loved one's diagnosis entailed, and what they could expect for them in the future.
To be clear, many questions about WHSUS remain. It isn't as easy as creating a website and translating medical journal articles into plain English. The founders understood this, and one of the White Sutton Syndrome Foundation's primary goals is to seek out more and better answers by supporting medical research. They also strive to serve those with WHSUS and their loved ones and to improve their quality of life. Lastly, understanding that awareness is one of the most effective ways to motivate people and cultivate change, they have dedicated themselves to educating others about WHSUS and its possible management and treatment strategies.
The mission of the White Sutton Syndrome Foundation is to build a community that will improve the quality of life for those diagnosed with White Sutton Syndrome and their families, to educate others about this condition and to fund research in order to better understand its symptoms, treatments and prognosis.


Which majors are popular for Hispanics around the country and what are their respective annual earnings?
Majors are not perfectly aligned with occupations, but they do determine lifetime earnings. Today a college education is the gateway to the middle class. Hispanics who have not had access to economic resources over generations receive the most benefit from earning a Bachelor's degree as their lifetime earnings increases.
View median earnings for college majors nationally. This interactive web tool allows you to see how much college graduates earn by 15 major groups and 137 detailed major subgroups nationally and within states.
October 2015, Hispanics: College Majors and Earnings provides information on the national breakdown of Hispanics by majors. Which majors are the most popular for Hispanics? Which majors pay the most and the least? Learn what is the rate of completion for Hispanics in the fields of study of Business, Health, Education, and other undergraduate majors.
May 2015, The Economic Value of College Majors uses Census Data to analyze wages for 137 college majors to detail the most popular college majors, the majors that are most likely to lead to an advanced degree, and the economic benefit of earning an advanced degree by undergraduate major. This report contains more information on Hispanics and features an interactive web search tool.
May 2011, What's It Worth? The Economic Value of College Majors details the relationships between major, gender, race/ethnicity, attending graduate school, and annual earnings. Understand the differences in majors and pay. This report contains national data only.
"We've known for a while that your major has a large effect on your ability to get a job and work your way up a career ladder."


text:
package nl.uva.larissa.json;

import java.io.IOException;
import java.util.List;

import org.apache.abdera.i18n.iri.IRI;

import nl.uva.larissa.json.model.Statement;
import nl.uva.larissa.repository.couchdb.StatementDocument;

import com.fasterxml.jackson.core.type.TypeReference;
import com.fasterxml.jackson.databind.DeserializationFeature;
import com.fasterxml.jackson.databind.ObjectMapper;
import com.fasterxml.jackson.databind.module.SimpleModule;

public class StatementParserImpl implements StatementParser {

	final private ObjectMapper mapper;

	public StatementParserImpl() {
		this.mapper = new ObjectMapper();
		// FIXME Jackson doesn't seem to give an error on a missing property on
		// the level of an ActivityDefinition. This is potentially risky as a
		// statement will
		// be accepted yet stored incomplete. bug in Jackson?
		// TODO make this configure less general? (meant for only
		// ContextActivities)
		mapper.configure(DeserializationFeature.ACCEPT_SINGLE_VALUE_AS_ARRAY,
				true);
		SimpleModule module = new SimpleModule();
		module.addDeserializer(IRI.class, new IRIDeserializer());
		mapper.registerModule(module);
	}

	@Override
	public Statement parseStatement(String json) throws ParseException {
		try {
			Statement result = mapper.readValue(json, Statement.class);
			if (result == null) {
				throw new ParseException("no data");
			}
			return result;
		} catch (IOException e) {
			throw new ParseException(e);
		}
	}

	@Override
	public StatementDocument parseStatementDocument(String json)
			throws ParseException {
		try {
			return mapper.readValue(json, StatementDocument.class);
		} catch (IOException e) {
			throw new ParseException(e);
		}
	}

	@Override
	public <T> T parse(Class<T> type, String json) throws ParseException {
		try {
			return mapper.readValue(json, type);
		} catch (IOException e) {
			throw new ParseException(e);
		}
	}

	// http://stackoverflow.com/questions/6062011/jackson-is-not-deserialising-a-generic-list-that-it-has-serialised
	@Override
	public List<Statement> parseStatementList(String json)
			throws ParseException {
		try {
			return mapper.readValue(json, new TypeReference<List<Statement>>() {
			});
		} catch (IOException e) {
			throw new ParseException(e);
		}
	}
}

redpajama_set_name: RedPajamaGithub


Changed: Spindle rotation has now moved to the tool definition.
Note that as of this version the job file fomat has changed slightly. When loading a job file from a previous version you will get a warning if any of the processes don't use a clockwise spindle direction. It is up to you to check the tool definition in this case. If you load a job from this version into an earlier version of SheetCam the spindle will always be on and turning clockwise.


Inspired by our iconic Expedition Parka but with a slimmed down design, the Citadel Parka is perfect for urban exploration. Numerous pockets off er storage for everyday essentials while the mid-thigh length and TEI 4 rating ensures superior protection from the cold.
► Four fleece-lined, zippered hand warmer pockets hidden behind chest and lower pockets.


RWA Nationals: The Golden Heart Ceremony!
So how did the Golden Heart ceremony go?
Well it was huge, intimidating, lovely, fun, funny, nerve-wracking and amazing all at once!
The afternoon was lovely – I left early from Nationals so I could "primp" (a huge plus to living near this year's Nationals event!). I took a nap, which I NEVER do. (But I was in "primping" mode now!) Then I got up, took a shower, took my time with my hair and makeup, and finally put on my gown. I couldn't remember languishing in my vanity area like this since. … my wedding day??? Probably something that long ago! Or maybe Prom. Homecoming? Whatevs. It was so fun.
Nationals, Day 3: Workshops, Signings, and GH Practice!
As soon as I got to the hotel, I went to one of the "Spotlights" they have, where a particular publisher gets a ballroom to itself, and you can go and learn all about the company's submission requirements, what they're looking for, etc. I popped into Sourcebooks' spotlight as well as Montlake's.
Nationals, Day 2: Pitches, Workshops, Ceremonies, Pool Gathering, and More!
The rest of the day was much more relaxed, including a fabulous workshop by Michael Hague that in and of itself might have been worth the entire price of the four-day conference!
Lunch was gorgeous as always — served in the enormous Marquis Ballroom with keynote address by Robin Carr. They had books on our chairs when we arrived — for book lovers like us, that's better than the dessert on the table! (…er … well … the dessert did look quite delectable, though…) And this is where I realized I didn't have the SD card in my camera as I tried to take pics of my fellow Firebirds at lunch. After we ate, we chatted. And then, for me, it was off to another pitch.
So I had my first two face-to-face pitches with editors and agents at Nationals this year. Like ever.
Writers are supposed to have a 30-second pitch, a way to sum up their book in a sentence — an elevator pitch, if you will, that the writer could conceivably give during a short elevator ride. The pitch should have a great "hook," and the conflict should be implied in the sentence.
Authors write, practice, agonize over, and memorize their pitches. There are even entire workshops on how to write them. The authors then bring their pitch to these national writing events, where they get a chance to meet agents and editors and deliver the pitch face to face. It sounds so terrifying — why do it at all, right? I mean, why not just mail the query in and avoid all the awkwardness?
My badge! The sunglasses pin is from The Golden Network Retreat, the next heart down is from membership in The Golden Network, the next pin is for finaling in the Golden Heart, the next is this year's Anaheim pin (they should have done something Disney looking, no???), and the last pin is our Firebirds pin we had made for us. Some people had TONS of pins all over their badges! They were really fun to look at!
Whew! Thursday was our first day of workshops.
I hustled from one to the other, taking notes and soaking it all in.
We had a nice lunch in the middle of the day, with Stephanie Laurens as the keynote speaker, who spoke about the fact that even though the publishing industry is in a huge state of flux right now, we — as storytellers — have the same job, the same goal, and the same process: writing the best books we can and getting them to the readers who love them.
Despite the "Wild West" feeling of the industry right now, it's actually the best time ever to be storytellers, she said.


text:
Cohn-Vossen ist der Familienname folgender Personen:

 Richard Cohn-Vossen (* 1934), deutscher Regisseur und Drehbuchautor
 Stefan Cohn-Vossen (1902–1936), deutscher Mathematiker

redpajama_set_name: RedPajamaWikipedia


Menlo-Atherton's Jacqueline DiSanto. Photo by Menlo-Atherton Athletics.
Menlo-Atherton High reached the state title match, Menlo School made it to the Northern California playoffs and Sacred Heart Prep reached the Central Coast Section semifinal round.
What can we expect as an encore from these volleyball powerhouses? Plenty. Most other local teams will be improved and all have players to watch.
The Bears (27-8 last year, 13-1 PAL Bay) return plenty of solid players, including reigning Bay Division MVP Jacqueline DiSanto, who made significant contributions to last year's run to the state championship contest.
Setter Kirby Knapp, Alexa Roumeliotis, Lauren Heller and Eliza Grover all return. Coach Fletcher Anderson had a magical first year at M-A and looks to continue things this year. The Bears have reached the CCS title match in six of the previous seven years.
Sacred Heart Prep (19-11, 5-5) lost six quality seniors from a team that reached the CCS Division IV semifinals.
The Gators do return nine players to the fold, including seniors Annie Bair, Rachel Cheung, Samara Phillips, Natalie Zimits and Alexa Thomson.
Also back are junior Cate Desler, sophomores Ally Polverari and Alexa Bartlett and Caroline Caruso.
Menlo (23-8, 9-1) has a new coach in Marco Paglialunga but plenty of familiar faces led by seniors Jessica Houghton, Mia Vandermeer, Nicole Woo and Dea Dressel.
Other top returners include Sianna Houghton, Kristen Sellers and Caroline Bradley. The Knights open Thursday night at Aragon at 6:15 p.m.
Palo Alto (24-13, 7-5) has a solid core returning in the likes of Chelsea Fan, Fiona Green, Jessica Lee, Katie Passerello and Sussana Limb.
Castilleja volleyball coach Jacqueline Heler, in her fourth season, had a legitimate excuse last season. Star outside hitter Madeline Johnson missed all but one match due to a heart condition.
Heler, whose Gators toil in the Skyline Division of the West Bay Athletic League, return everyone but Johnson this year.
"Last year was disappointing," said Heler, a 2000 alum of Gunn.
Senior Elle Kass is the most experienced player, solidifying the libero position.
Heler is high on sophomore outside hitter Alexis Stull.
Heler plans on playing a 6-2 offense, meaning two setters will be on the floor at the same time. Senior Ashley Hu can play setter and outside hitter. Maddie McClellan and Rebecca Mak will compete for time on the floor at setter, possibly playing at the same time.
Samantha Gerber, a senior middle blocker, has battled concussion problems the past two seasons, but should be a factor for the Gators this season. Senior Gwen Cusing will see time at outside hitter.
"Our goal is to finish in the top two in league," Heler said.
Extra motivation for the Gators this season is that they will play in Div. V of the Central Coast Section playoffs, based on enrollment.
"Division V should be a better matchup for us than Division IV," Heler said.
Castilleja opens the season Thursday night with a 6:45 p.m. match at Fremont High in Sunnyvale.
Praneet Nanda takes over a young Gunn High girls volleyball team full of promise and ability. Call it a clean slate, the Titans are ready to regroup and raise their level of play.
Nanda, who has been at Santa Teresa High since 2013, has high hopes for the future. Despite the recent change of scenery, with Gunn being reassigned to the El Camino Division of the SCVAL, he believes The Titans has the talent and ability to succeed.
"We're going to have a young team, but I do expect us to be promoted in our division within our league," Nanda said. "Even though we're going to be young, there will be some room for growth. However, with moving up in a division, there is going to come some confidence and a lot of momentum."
All-SCVAL De Anza second team member Emma Munch leads the Titans, who open play Friday against Hillsdale.
Rick Riebhoff is in his second year as girls volleyball coach at Woodside Priory, but it very well could be called his 10th. Riebhoff headed the volleyball program at Priory from 2004 to 2011 before taking three years off. Riebhoff replaced Dustin Moore, who took over the program at Presentation in San Jose.
"I wasn't planning on being back this soon, but I missed it," Riebhoff said.
Amber Biddle Lindenstein is in her second year at Pinewood, having come over from Menlo School where she was the junior varsity coach. Both Riebhoff and Lindenstein are trying to rebuild their respective programs, Priory more so than Pinewood. Both teams reside in the Skyline Division of the West Bay Athletic League.
Priory has some experienced players returning in junior middle blocker Sammie Sargent, senior setter Nadia Faisal and senior outside hitter Daniela Vivanco. Sargent, daughter of Priory football coach Doug Sargent, will also play some outside hitter.
"Those are the main three, but there are some kids coming up who will be pretty good," said Riebhoff, an alum of the long-defunct Blackford High in Santa Clara.
Priory had some internal strife last season, but Riebhoff is out to keep the girls together in 2016.
Riebhoff said the outlook is much better for his club this year.
Crystal Springs Uplands-Hillsborough won the Skyline Division last year, but stayed down instead of moving up to the stronger Foothill Division. Mercy-Burlingame came down, while Notre Dame-Belmont joined the Foothill Division, moving from the West Catholic Athletic League.
Lindenstein's first year consisted of some growing pains.
Pinewood has four key returners: junior setter/outside hitter Maddie Escher, senior OH/DS Alia Rubaie, senior MB Gaby Krohn and junior OH Sarah Bares.
"We're hoping to have Maddie just play outside hitter this year," Lindenstein said.
Lindenstein has a fan in Rubaie.
Lindenstein feels her club can contend for the Skyline title.
Priory kicks off the WBAL Skyline slate at Mercy-Burlingame on Sept. 8. Pinewood hosts The King's Academy-Sunnyvale on Sept. 13. Mercy-Burlingame is at Castilleja, while Eastside Prep is at Priory.
Elsewhere, programs like Mid-Peninsula (5-10, 5-7) look to improve with returning players Faye Bandet, Rachel Kirkwood, Hana Dvorak and Shontelle Watkins. Eastside College Prep (2-9) builds around Crystal Thomas and Vanessa Ibarra and Kehillah Jewish (2-11) looks to Sydney Goldman, Lauren Kelmer and Natalia Spritzer.


text:
FeaturedOpinion Piece
"It's just a business": The Cynicism of KILLING THEM SOFTLY
If you haven't been living under a rock, you may have noticed that the 2016 U.S. Presidential Election comes surrounded...
Second poster for Geoffrey Fletcher's Violet & Daisy
Second poster for Geoffrey Fletcher's Violet & Daisy, starring Saoirse Ronan, Alexis Bledel, and James Gandolfini.
Five more TV spots for The Incredible Burt Wonderstone
Five more TV spot for Don Scardino's The Incredible Burt Wonderstone, starring Steve Carrell, Jim Carrey and Steve Buscemi.
Five character posters for The Incredible Burt Wonderstone
Five character posters for Don Scardino's The Incredible Burt Wonderstone, starring Steve Carrell, Jim Carrey and Steve Buscemi.
The Drop is simply an ordinary film slightly elevated by good performances. Worth a watch but perhaps when it come to TV.
First poster for Geoffrey Fletcher's Violet & Daisy
First poster for Geoffrey Fletcher's Violet & Daisy, starring Saoirse Ronan, Alexis Bledel, and James Gandolfini.
Final domestic trailer for Don Scardino's The Incredible Burt Wonderstone
Final domestic trailer for Don Scardino's The Incredible Burt Wonderstone, starring Steve Carrell, Jim Carrey and Steve Buscemi.
First trailer for Geoffrey Fletcher's Violet & Daisy
First trailer for Geoffrey Fletcher's Violet & Daisy, starring Saoirse Ronan, Alexis Bledel, and James Gandolfini.
A perfectly fine little comedy with a big heart and a healthy dose of laughs. Just don't expect magic.
First TV spot for Don Scardino's The Incredible Burt Wonderstone
First TV spot for Don Scardino's The Incredible Burt Wonderstone, starring Steve Carrell, Jim Carrey and Steve Buscemi.


text:
Q: IPostConfigureOptions not triggered after application build I try to implement Generic Controller. So for that I try to use;
IPostConfigureOptions<ApplicationPartManager>
IApplicationFeatureProvider<ControllerFeature>

I use PostConfigureOptions because of I want to discover after built. I cannot use
services.AddMvc().AddRazorRuntimeCompilation().ConfigureApplicationPartManager(m => m.FeatureProviders.Add(new GenericControllerFeatureProvider()));

because it is in Startup, however I register my controller inside my module service builder.
My dependency injection code:
//working
Services.ConfigureOptions(typeof(GenericPageConfigureOptions<,>).MakeGenericType(builder.UserType, t));
//not working
Services.ConfigureOptions(typeof(GenericControllerConfigureOptions<,>).MakeGenericType(builder.UserType, t));

// My IPostOptions implementations
// This is working as expected.
public class GenericPageConfigureOptions<TEntity, TKey> : IPostConfigureOptions<RazorPagesOptions> where TEntity : class where TKey : IEquatable<TKey>
{
    public void PostConfigure(string name, RazorPagesOptions options)
    {
        name = name ?? throw new ArgumentNullException(nameof(name));
        options = options ?? throw new ArgumentNullException(nameof(options));

        var convention = new GenericPageModelConvention<TEntity, TKey>();
        options.Conventions.AddAreaFolderApplicationModelConvention("Identity", "/", pam => convention.Apply(pam));
    }
}

//not working
public class GenericControllerConfigureOptions<TEntity, TKey> : IPostConfigureOptions<ApplicationPartManager> where TEntity : class where TKey : IEquatable<TKey>
{
    public void PostConfigure(string name, ApplicationPartManager options)
    {
        name = name ?? throw new ArgumentNullException(nameof(name));
        options = options ?? throw new ArgumentNullException(nameof(options));

        var provider = new GenericControllerFeatureProvider<TEntity, TKey>();
        options.FeatureProviders.Add(provider);
    }
}

Finally my feature provider class is looking like that:
public class GenericControllerFeatureProvider<TEntity, TKey> : IApplicationFeatureProvider<ControllerFeature> where TEntity : class where TKey : IEquatable<TKey>
{
    public void PopulateFeature(IEnumerable<ApplicationPart> parts, ControllerFeature feature)
    {
        var candidates = AppDomain.CurrentDomain.GetAssemblies().SelectMany(s => s.GetTypes()).Where(x => x.GetCustomAttributes<GeneratedControllerAttribute>().Any());

        foreach (var candidate in candidates) {
            var typeName = candidate.Name.Remove(candidate.Name.IndexOf("Controller"));
            if (!feature.Controllers.Any(t => t.Name == typeName)) {
                var defaultUIAttribute = candidate.GetTypeInfo().GetCustomAttribute<GeneratedControllerAttribute>();

                var controllerType = defaultUIAttribute.Template.MakeGenericType(typeof(TEntity), typeof(TKey)).GetTypeInfo();
                feature.Controllers.Add(controllerType);
            }
        }
    }
}

An example controller:
[GeneratedController(typeof(IdentityController<,>))]
public class IdentityController<TUser, TKey> : Controller
{
    private IUserManager<TUser, TKey> _userManager;

    public IdentityController(IUserManager<TUser, TKey> userManager)
    {
        _userManager = userManager;
    }
}

A: IPostConfigurationOptions is triggered only if you consume the options.
You can try to access your option ApplicationPartManager using controller injection:
[GeneratedController(typeof(IdentityController<,>))]
public class IdentityController<TUser, TKey> : Controller
{
    private IUserManager<TUser, TKey> _userManager;

    public IdentityController(IOptions<ApplicationPartManager> option, IUserManager<TUser, TKey> userManager)
    {
        _userManager = userManager;
    }
}


2 and 3 bedroom homes available now in Moreton in Marsh.
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The Avenues is ideally placed if you need to commute, with trains to Worcester, Oxford and London Paddington from Moreton-in-Marsh railway station which is just a short distance away. If you're travelling by road, your new home is well placed for the A44 that will lead you to Chipping Norton and Oxford in the east and Worcester and Evesham in the west.
Looking for a place to put down roots for your family? Moreton-in-Marsh offers a primary school within the village and, for the older children, Chipping Campden School Academy and sixth form can be found a little further afield. A couple of preparatory schools, Dormer House School and Kitebrook House, can also be found in Moreton-in-Marsh.


Vindha Bhargav (Boman Irani), a rich tycoon from India, receives the news of his son Mohan Bhargav's death in a car accident while he is in Italy. Later, armed gunmen enter his hotel room, one of whom holds up a phone, and on the other end are Vindha's friends Sharma (Murali Sharma) and Varma (Rao Ramesh), who tell him this was their plan all along, and now with his son dead as well (implying that they planned it), his "empire" has no heir. Vindha secretly records this conversation before being gunned to death by the gunmen.
The news of Vindha's death, along with his belongings, reaches his wife Indrani Bhargav (Kushboo) who hears the audio file of Vindha's alleged killers. She calls her brother Appaji (Tanikella Bharani) to call for an unknown person. Appaji informs the unknown person, who is none other than Abhishikth Bhargav (Pawan Kalyan), Vindha's "secret" son. After performing his father's last rites in Varanasi, Abhi makes his way to Hyderabad, where his father's possible killers live.


text:
Only (Dis)Connect; and Never Relaxez-Vous; or, 'I Can't Sleep'
By Robin Wood.
Claire Denis: Cinema of Transgression, Part 2 (Read Part 1 here.)
What it isn't
I have before me two statements about I Can't Sleep (J'ai pas sommeil, 1994) by reputable and intelligent critics: 1. On the cover of the video, Georgia Brown (who used to write for The Village Voice) is quoted: 'A rich and startling noir that manages to evoke Wenders and Jarmusch at the same time as Chabrol and Hitchcock'; Martine Beugnet, Claire Denis, in the French Film Directors series published by Manchester University Press: 'J'ai pas sommeil plays on the conventions of the noir genre…' ( Introduction, Page 1). Much as I respect (in their very different ways) both writers, I find these descriptions misleading. Any connection to Wenders, Jarmusch and Chabrol seems to me merely tenuous and unhelpful, but connecting the film to Hitchcock seems perverse in the extreme. One might see it as the anti-Hitchcock par excellence, the only connection being that one of the film's characters is a serial killer. Hitchcock's art is based solidly on the principle of spectator identification, which Denis absolutely forbids; point-of-view shots are rare, and their function when they occur is simply to show us what the character is looking at. Hitchcock's serial killer films (from The Lodger [1926] through to Frenzy [1972]) play upon suspense, and upon our early knowledge or suspicion of the killer's identity, while Denis scrupulously avoids any suggestion that her characters are in imminent danger and any hint of his identity until the abrupt and casual revelation in the film's final third, up to which point the murders are merely a news item, part of the urban environment. The most we might wonder is whether one of the elderly women (Daiga's aunt, or Douchka the hotel owner) might become a victim, though nothing tells us to expect such a development. Is any film about a serial killer now 'Hichcockian'? As for 'the conventions of the noir genre', they are (as I understand it): black-and-white photography with high-key lighting, shadows, dark corridors, darker alleys, bad weather, rain-washed streets, the essential femme fatale, a pervasive sense of corruption and double-dealing in which nobody can be trusted, the double-cross, a plot centred on money, power and greed, not one of which can be found in Denis' film. What is striking about I Can't Sleep, despite its serial killer plotline (merely one of several), is its systematic refusal of the 'conventions of the noir genre'.
Confessions of an Incompetent Film Critic
For people of my generation, who grew up in the 1940s/50s on an exclusive diet of classical Hollywood cinema (with the occasional British movie), the European 'arthouse' cinema always presented problems which linger on even today, a simple basic one being that of following the plot. This is not because the plot is necessarily complex or obscure, but, frequently, because of the way in which the characters are introduced and the action presented. When I grew up there was remarkably little serious criticism available (not much beyond the weekly reviews), and film studies courses in schools or universities were not even thought of. I was seventeen when I saw my first foreign language film (Torment/Frenzy [Hets, 1944], by Alf Sjöberg, from an early but already characteristic screenplay by Ingmar Bergman). I knew from the reviews that it would carry me far beyond anything I had seen previously, both in style and subject-matter, and my hand was trembling when I bought my ticket. I believe I had great difficulty following it (my first subtitles, not to mention extreme psychological disturbance). Fifty-five years later I still have the same problem when confronted with the films of Claire Denis (or Michael Haneke, or Hou Hsiao-Hsien…). The habits acquired during one's formative years are never quite cast off; when I showed I Can't Sleep to a graduate film group last year, my students corrected me over a number of details and pointed out many things I hadn't noticed, although this was their first viewing of the film and I had already watched it three times. A classical Hollywood film – however intelligent and complex – is dependent on its surface level upon 'popular' appeal and its action must be fully comprehensible to a general audience at one viewing, covering all levels of educatedness from the illiterate to the university professor. (The same was of course true of the Elizabethan theatre – see, for example, the conventions of the soliloquy and the aside, wherein a character explains his/her motivation, reactions or thoughts to the audience). One of the cardinal rules was that every plot point must be doubly articulated, in both the action and the dialogue; another was the use of the cut to close-up that tells us 'This character is important'; yet another, the presence of instantly recognizable stars or character actors. All of these Denis systematically denies us. It is a part of her great distinction that her films (and especially I Can't Sleep, arguably her masterpiece to date) demand intense and continuous mental activity from the spectator: we are not to miss a single detail or to pass over a gesture or facial expression, even if it is shown in long shot within an ensemble, with no 'helpful' underlining and no 'spelling out' in dialogue.
It is the particular distinction of Denis' cinema that sets it apart from – almost, indeed, in opposition to – the work of many of our most celebrated 'arthouse' directors: Bergman, for example, or Fellini or Antonioni. Their films are rooted in autobiography – not necessarily in any literal sense, but in terms of personal introspection – whereas Denis left autobiography behind with Chocolat, and even that film is notable for its poise and critical distance, its objectivity. Where Bergman or Fellini seems to be saying to us 'Come with me and I'll tell you my secrets, share my experiences – how I feel about things, my thoughts about existence', Denis issues a very different invitation to the spectator: 'Come with me and we'll play a game, albeit a serious one. Let's see how much you can notice in what I decide to show you, how you interpret what you see and hear, what connections you can make, how much can be explained and how much remains mysterious and uncertain, as so much in our lives remains unclear. I'll allow you a certain leeway of interpretation, because I don't always understand everything myself, not even my own creations, though I'll be as precise as possible…' A few examples from the film's first ten minutes will illustrate various aspects of this.
1. The film opens (pre-credits) in the interior of a police helicopter, in which two cops are helplessly convulsed with laughter over a joke one of them has just told. We are not let in on the joke, though one of the cops, between spasms, gasps out the odd unintelligible phrase, which may or not be the punch line. Accordingly, we are denied participation in their merriment and left free to speculate – about their duties, and about their possible relevance to whatever is about to happen. They are above open country, far too high to be able to make out details, presumably on some kind of highway patrol, but not paying the least attention to anything outside the cockpit, spending their time (and the taxpayers' money) on joke-telling. We feel frustrated at not being let in on the humour, but their laughter is so prolonged that it becomes contagious: we almost begin to laugh with them, if somewhat uncertainly, and may reflect that they need some relaxation from a generally boring job (Denis is the least puritanical of filmmakers). These two policemen never reappear in the film or have any apparent connection to anything (they can hardly be searching for the 'Granny Killer' way out in the country over open meadows). Two other pairs of policemen do, however, turn up subsequently, but again do not exactly inspire great confidence: the couple who twice encounter Daiga (the first time when she, in a strange country, has left her car in a No Parking spot, the second time by chance) and treat her brusquely, with no consideration for her foreignness; and the pair who, near the end of the film, intercept Camille and take him into custody, but only after Daiga has recognized him from the sketches at the police station and guessed his secret. If the film has anything even remotely Hitchcockian about it, it is perhaps this scepticism about the efficacy of the police.
2. 'Relaxez-vous'. With the cops still laughing we cut to an aerial view (from inside the helicopter) of the highway glimpsed through clouds on a dull day, then to road level, singling out a nondescript, far from new car, its rear window almost covered by baggage, the cast credits superimposed (alphabetically); woman driver, cigarette drooping from mouth. We shall come to know her as Daiga, from Lithuania, but at this stage our only clue is the piled luggage, which tells us only that she has been on a long journey and may be foreign. She switches on the car radio, a news item about the 'Granny Killer', the voice jovial and offhand, treating the serial murders of elderly women as something of a joke; it's just heard by accident, with no sudden underpinning of sinister nondiegetic background music to tell us 'This is a major plot thread'. Then another station: Dean Martin is singing 'Relaxez-vous' ('The more you earn/The less you learn/To relaxez-vous'). The sound is cut off abruptly as the car (now in long shot) drives up a narrow Paris street, Sacre-Coeur visible in the distance, at the top of its hill. In the foreground a woman comes out of an unprepossessing apartment building and throws water on the street. Flies buzz on a window, the interior of an apartment shows signs of a struggle, and there is a just discernible corpse sprawled on the floor in the murky room. Cut back to car, the young woman now studying a street map, a French woman's voice continuing the song on the radio ('We French you'll find/Are more inclined/To relaxez-vous'): temporially and geographically impossible (do we notice?) but cinematically pleasing continuity, the two versions of the song nicely bracketing the casual intrusion of the corpse into the apparently inconsequential narrative. The juxtaposition (song/serial murders/relaxation) has its immediate ironic effect, but if we think back over the film after we've seen it (which every Denisian device encourages us to do, the film resembling an extremely intricate jigsaw in which every smallest piece is felt to have its significance, but a jigsaw that exists in time and memory, not spread out on a table for our overall contemplation), we may find more in 'relaxez-vous' than a fleeting moment of irony. There are only two scenes in the entire film where people completely relax together: that of the two cops sharing their joke in the helicopter (a scene which proves to have no narrative consequence or significance whatever), and the scene in which Daiga and her elderly Lithuanian benefactress Douchka (hotel owner, instructress in self-defence for elderly women under threat) get drunk and dance together. This discovery may in its turn lead us to an important – perhaps the leading – thread of the film's complex and to some extent elusive thematic: both scenes are same-sex but non-sexual (though Douchka, by the end of the dance, is becoming very affectionate, perhaps because Daiga is standing in for the men who are no longer interested in her). All the overtly sexual relationships (whether gay or straight) – Daiga and the theatrical producer, Mona (Beatrice Dalle) and Theo (Alex Descas), the gay triangle of Camille, his lover, the blonde doctor – are characterized by tension, anger, recriminations, and (in the cases of the first and third) physical violence – to which one must also add the marginal figures of domestic abuse, the husband and wife in the apartment next to Theo's.
3. Camille and company. Perhaps the best example of Denis' departure from the shooting/editing conventions of classical Hollywood – her insistence that the audience work, notice, remember – is the introduction of the pivotal character of Camille (Richard Courcet). From the last, brief, quotation of 'Relaxez-vous' Denis cuts to a flight of stone steps (Sacre-Cœur again in the background, closer, we are higher up), with three figures descending in long shot. They approach a parked car, still in long shot, their backs to us. One of them, a young black (but pale-skinned) man in a white suit, is deliberately shut out; he bangs on the car door, a tall, thin white man gets out. I doubt whether the actors were identifiable even in France. Denis cuts, not to a closer shot, but to a couple of garbage collectors emptying garbage cans into their truck, with no clear spatial connection. Cut back to car: the black man, still in long shot, is shut out again, banging on the door; the tall white man gets out again, there is a fight, the black man kicks the car as it moves off, abandoning him, the garbage truck following just behind it. Dialogue throughout is inaudible or indecipherable, we are permitted no insights into the nature of the men's relationship or the grounds of their quarrel, neither do we get a close look at any of them. Behaviour, gesture, movement are precisely rendered, yet all explanatory information is withheld. Twenty minutes of screen time go by before we discover that the black man and the tall white man are lovers and that they have a room in the hotel in which Daiga is also by then installed, nothing leads us to suspect that the black man is the Granny Killer until about twenty minutes from the film's end. The nearest thing to a 'point' being made is the brief juxtaposition (and exchanged glances) of Camille (as we later know him) in his smart white suit and the two garbage collectors, who are also black.
4. Enter Beatrice Dalle. I Can't Sleep is structured upon three intertwining plot-lines, each centred upon a sexual relationship: the Camille/lover/doctor triangle; Daiga and her search for the theatrical producer with whom she shared what was apparently a one-night stand; and the troubled relationship of Camille's brother Theo, who wants to return to Martinique, his wife Mona, who doesn't, and their young child (who at first looks like a girl but is identified in the dialogue as their son Harry). Jumping ahead, I want to single out the introduction of Beatrice Dalle, as an extreme instance of Denis' play with audience recognition, expectation and deduction. Denis is credited as Jim Jarmusch's assistant director in Down by Law (1986); she revealed in an interview that she 'discovered' Dalle in the Paris episode of Jarmusch's subsequent Night on Earth (1991). Dalle is the nearest thing to a familiar face in I Can't Sleep, aside perhaps from Descas, who had already worked for Denis in No Fear, No Die (1990).
She is introduced in a single isolated shot, typically without explanation or identification, seated in an open air cafe, smoking, chewing her thumbnail, as if trying to come to a decision about something; we are given no clue as to who she is, though Theo and their child have already appeared in extended earlier scenes. The shot shows her in profile, looking right; it is followed immediately by a similar shot of Daiga in the street, also in profile, also looking right, which suggests that she is looking at Mona, though the spatial relationship is by no means clear – she could, for all we are offered, be in a different street. The moment suggests the possibility of a meeting, some future relationship; in fact, the two women never meet or have any connection in the film: a fascinating instance of Denis' play with the viewer's perceptions and assumptions. What is in fact set up here is not a relationship between the two women but a parallel: both are involved with men who reject their demands, while (typically, of relationships in Denis' films) the rights and wrongs of those demands are by no means clear-cut. Once again, Denis is inviting the spectator into the film as an active participant.
'I'm a stranger here myself'
The fascination exerted by Denis' films (and supremely in I Can't Sleep) lies in a complexity and delicacy of attitude so extreme as almost to defy precise definition. There is the distance from all her characters, certainly, a seemingly impartial, all-encompassing distance that the spectator is encouraged to share. But this is qualified by an implicit and equally pervasive sympathy and generosity: no one is condemned (though in extreme cases we may condemn their actions, which are frequently misguided or destructive), the generosity – the affection – extends both to the elderly women who practise self-defence in Douchka's class and to their potential murderer. Nor is this a case of 'Tout comprendre, c'est tout pardoner': Camille's murders are certainly not condoned or excused. It's an attitude to human life so bewildering in its complexity that it could easily degenerate into a Bergmanesque despair, but Denis is too strong for that, her stance of sympathetic but impartial observer forbids it, she never loses her poise. Therein lies the extraordinary nature of her achievement: she offers, uniquely, a way of looking, which takes precedence over (and encompasses) any definable thematic. And this generosity toward her characters finds its visible and tangible expression through her detailed and sympathetic direction of actors, all of whom seem willing to give, to share, to participate in an ensemble in which there are no 'stars', no competition for the spotlight, no intrusive egos. Or, if you prefer, it's an art of direction (cooperative, never domineering) in which everyone is a star, down to the smallest 'bit' player. Reseeing the film many times, trying to formulate some communicable account of its magic, I became fascinated by the sequence of the self-defence class, playing it again and again, each time watching a different portion of the screen. Every one of the old women (mere 'extras', briefly glimpsed, unnamed, with no dialogue) is a living character, with her own individual reaction, her own particular kind of amusement and participation, every segment of the screen is alive.
The simultaneous distance and involvement is in fact inseparable from the Denis thematic, which has two major components: alienation and transgression. This was already clear in Chocolat, where the fundamental falseness of colonialism turned everyone, black or white, into an alienated person and where the crossing of boundaries that have no right to exist could lead only to disaster. I Can't Sleep carries the principle much further, Denis creating a society in which none of its members really belongs. All the central characters are aliens, with no sense of belonging, either by foreignness (Daiga, Douchka, their fellow Lithuanians in the overcrowded apartment), by colour (the black brothers, one of whom is apparently an illegal immigrant, the other a casual murderer of harmless old women, ostensibly for their presumed hordes of money), or by their unstable personal situation (Mona, with her black child, uncertain whether or not to end the relationship with Theo). The film opens (almost) with Daiga entering Paris and ends with her leaving it; even her car is apparently stolen. Theo plans to leave for Martinique, which he sees as his native land though his image of it appears to come from travel brochures. From Chocolat (1988) right through to Beau Travail (1999) and Trouble Every Day (2001), almost all Denis' characters are displaced persons inhabiting a world of displaced persons. At the heart of all this is Camille, the gay transvestite with a woman's name (according to one of the cops who finally pick him up, though the cop seems to have forgotten that it was the name also of one of France's leading male composers). One quality no one will accuse Denis of lacking is audacity (another is intelligence). In 1993, at the height of 'political correctness', to make a film in which a serial killer of helpless elderly women is both black and gay shows something beyond audacity: defiance. Remarkably, in the event, no one I think will accuse her of being anti-black or anti-gay on the evidence of this film, without even the need to take into account, for example, Chocolat, No Fear, No Die or Beau Travail. Camille is presented sympathetically throughout, even in the climactic scene where a policeman reads him the formidable list of old women he has killed, and without the slightest sense of special pleading, exonerating circumstances or conventional excuses (abused child, etc…). On no grounds are his actions excused, yet he remains, precisely, the Camille we have come to know (somewhat) and have found generally attractive and sympathetic. Denis never narrows down his motivation, beyond the surely insufficient one of needing money. If there is an explanation it is simply that, in an environment of alienated people, he is triply alienated – gay, black, and probably doomed by AIDS (the mark on his cheek, his visit to the doctor's clinic). He exists, in what seems a state of perpetual uncertainty and bewilderment, somewhere outside any 'normal' human feeling or conventional moral sense. But Denis never judges, she simply presents, without acquittals or convictions, praise or blame. The rest is up to the spectator.
Denis and Dialogue: What is said – what is left unsaid – what can't be said – what we can safely interpret from silences
One of the first things that strike you about Denis' movies is that she keeps dialogue as sparse as possible. Though seldom visually flamboyant, these are highly visual films, framing, acting, movement, expressions, composition, telling us more than is ever spoken. Unless you count 'Relaxez-vous' and the news bulletin there is no intelligible dialogue in the first seven minutes of I Can't Sleep. Strikingly, throughout the film, Camille's dialogue is especially minimal. This might be interpreted as a way of concealing his identity as the Granny Killer, but it is less a dramatic convenience than a statement of his character: he is too confused, too uncertain about who he is and what he does – too afraid of what he might learn about himself – to be capable of formulating himself in verbal expression. He is eloquent only when, on stage, he can hide behind a public persona that at once expresses his finer self (sensitive, troubled, deeply hurt and insecure) and conceals the dark side (from himself as well as from the world). The sequence of concise, enigmatic scenes that precedes the climactic unravelling provides a fine example of Denisian inexplicitness, her refusal to spell things out, her insistence that the spectator work:
1. We see Camille in the waiting room at the doctor's clinic, looking troubled, the mark on his cheek prominent; a nurse comes up: 'It's ready'. We are not told what 'it' is (a test result? a medicine? An early attempt at an AIDS 'cocktail'? – the film was released in 1994).
2. Theo with Mona and their child. He has his violin (the first indication that he is a musician), she has bought him new shoes for a performance. He tries them on, she realizes (against his expressions of pleasure) that they are too tight. He chooses what seems to be a propitious moment for a return gift – he has bought the tickets for Martinique. Furious (she has never agreed to go), she throws his clothes off the balcony.
3. Peace made, a meal, Mona's mother now present. Theo describes the idyllic life on Martinique ('You live nude all day there. It's paradise'). Mona glares across the table.
4. Camille arrives, an interruption, but doesn't move beyond the doorway: 'I want to ask you something.' He then falls silent, unable to continue. We never know what he was going to ask (or tell, perhaps?): That he has AIDS and needs help and support? That he wants to go to Martinique with Theo? That – doomed himself – he is the 'Granny Killer' (though the spectator doesn't know this yet)? He leaves without revealing what he came for.
5. Theo goes out to the apartment balcony, watching his brother pass along the sidewalk below. 6. The subway platform, Camille on bench. Theo appears, gives him money. He accepts it, but tells him 'That's not what I came for'.
7. Camille on the dance floor of a darkly lit gay club, lights flashing.
8. Back to Theo – showdown with Mona. She slaps him violently, they fight over the child.
9. Camille buying drugs in the street.
10. Mona, with the child, to the apartment building of a friend to whom she has apparently fled before. Friend: 'This isn't a fucking hotel.'
11. Camille with his lover (who shows signs of wanting to end the relationship). They express a somewhat desperate, precarious commitment.
12 and 13: Two murders, both men participating (the revelation that Camille is the killer). Clearly, far more is implied here than is stated in the sparse dialogue: the uneasy relationship between the brothers, in which so much is left unsaid and always has been; the parallel problems in their lives, the different kinds of stress that shut each up in his own problem so that communication or empathy is impossible; the underlying desperation that might unite but in fact separates them. And where is the spectator in all this? With Theo, in his desire for a better life, however unrealistic his expectations? With Mona, because she is more realistic, even though she seems to have nowhere to go, both literally and metaphorically? With Camille, who may be facing a death sentence (from AIDS, as we don't know that he is a serial killer yet!)? It is, I think, one of the film's structuring principles that Denis never allows us to take sides.
The climactic final encounter between Daiga and Camille in the bar immediately prior to his arrest, in which only nine simple banal words are spoken, provides an even more fascinating example of Denis' art. At this point we recognize that Camille is approaching some kind of disintegration, and we know that Daiga has seen the 'Wanted' notice with the easily recognizable sketches in the police station and knows he is the killer (though he doesn't know she knows, prior to his intuitive understanding). Though she has been aware of him before (seeing, in fact, he and his lover, naked, embracing, on an upper floor, from her window in the hotel), they have never communicated in any way. When he comes out of the hotel she follows him at a distance, then sits beside him at the bar ('A coffee please'). He becomes aware of her, passes her the sugar. Then one of Denis' extremely rare cut-ins to close-up: their hands touch, and momentarily pause. The moment of touch conveys that he knows that she knows, and her recognition of this. She says 'Merci'. He tells the bartender 'I'll pay for both'. She says again 'Merci'. He leaves, walks the streets, is recognized and picked up. That shot (a few seconds) of their hands touching and not immediately withdrawing has become for me one of the most poignant moments in modern cinema, though I don't think I even noticed or registered it on my first viewings (it is extremely brief), and though I can't describe confidently just what its effect is. One alienated human being recognizing another, and breaking through the barrier for a single fleeting moment, while recognizing that it is the first and last of such moments? There are many nights when I can't sleep, either.
Closures… openings… continuations
Since the explosion of the semiotics movement in the '60s, we have heard a lot about closure in the arts, especially in cinema. A film is expected to end in closure of one kind or another, the commonest and most banal being the 'I'll take you home now', or (marginally less possessive in wording but scarcely in meaning), 'We can go home how' – typically spoken by the man to the woman, its function being the restoration of the 'good couple', who will perpetuate the mess we have for so long found ourselves in, confirming the 'rightness' of the dominant ideology. And it is true: most of our movies end in 'closure' of that nature, more or less presented as 'the happy ending' (there are numerous ironic inflections). Closure can, of course, also be tragic, or (for example) the lovers who seemed made for each other can go back and do their duty by their respective spouses and children. In any case it is closure. Of course this has all the obvious ideological supports and demands, fundamental to the continuation of our culture as it is, Heaven (if there is such a thing) help us.
Denis' films call all this into question. Yes, in I Can't Sleep the Granny Killer is caught, the culprits exposed and (one may safely assume) sentenced to life imprisonment (which in Camille's case may not be that long), and Daiga has had the satisfaction of ramming the car of the guy who she thought was going to become her lover and get her established in Paris theatre. Yet neither of these endings offers even the most conservative audience much satisfaction, and the third plotline (Theo/Mona/child) is left completely unresolved. Daiga was, clearly, taken advantage of, but her expectations of results seem to have been more professional than romantic, and her lover's acceptance of his wrecked car, if short of a gallant gesture, has been more generous than what, under the circumstances, we might expect. As for Camille, despite his heinous crimes, do we really feel self-righteous satisfaction in what will be the (probably quite brief and certainly unpleasant) remainder of his life? If 'closure' is supposed to send the spectator home with a sense of satisfaction, Claire Denis' films never very convincingly supply it.
But there is more than that to be said about this need for closure: a metaphysical yearning beyond, and far deeper than, the kind of satisfactions our traditional 'happy endings' supply. Each of us faces his or her own personal closure, yet we die never knowing the endings of all those narratives (from the most trivial to the all-encompassing) in which our lives have been involved. What could be more frustrating? I (for example) have already overstepped the biblically prescribed boundary of 'three score years and ten' from whose bourne no traveller returns, so could pop off any day now. (On the other hand, I could follow the examples of my parents and three out of four older siblings and last another 15-20 years). There are so many scenarios I would like to see reach closure before I go. It seems not altogether unreasonable to hope that I may live to see President Bush lose the next election in a landslide, as it's only a few months away, but what about the world revolution that will overthrow corporate capitalism and all other forms of fascist or quasi-fascist (i.e. what our governments like to call 'democratic') tyranny, government of the people by the wealthy and for the wealthy? It could take several more generations, by which time global warming or another nuclear war may have pre-empted it by ending life on the planet (which would, I suppose, be the only definitive closure).
So I love Denis' usual attitude to closure, of which I Can't Sleep offers no less than three variants:
1. Full closure: Camille. (But is it really 'full'? Closure is supposed to leave one satisfied, and I like Camille sufficiently to wish I could take him home with me, see him through his last months, look after him and see that he doesn't murder any more old women).
2. Partial closure/a new start: Daiga. She's got her theatrical producer out of her system, taken her revenge, and can move on to wherever she's going (about which she seems to know no more than we do).
3. No closure. Theo/Mona/Harry. We are not sure whether Mona is surrendering the child to Theo, trusting that a life on Martinique will be more fulfilling, whether she has decided to go with them, or whether she is simply going back to fight things out all over again. All we know is that it will not be easy.
As soon as I finished writing the above I read Martine Beugnet's analysis of the film (in the book cited at the beginning). I should explain that when I write about a film I carefully avoid reading what anyone else has said about it, and therefore scrupulously avoided that chapter. What fascinates me (and constitutes my own personal view of criticism) is the relationship between the critic and the work, and the task of defining that relationship; I want no intermediaries. Writing about a film (or any work of art) is therefore a deeply personal matter, and I set aside anything that might intrude upon it. (I am also very easily intimidated – if I read someone else's account of a film that differs from my own I habitually assume that I must be wrong, and if they say more or less what I was going to say they render me superfluous). I recommend Bergnet's reading of the film strongly – I have learnt a lot from it. One point that arises from her background and research may be felt to affect my reading quite radically: before reading her, I did not know that Camille's character is based quite closely upon an actual serial killer of elderly women, a recent cause celebre in France. It is therefore quite possible that French audiences would pick up on this within the film's opening sequences, associating Camille with the dead body. I presume that by this point in her career Denis was making films for audiences beyond France, and that she must have realized that her film would be read differently in other countries. I therefore continue to believe my reading valid – at least for non-French audiences. And the film's structure supports me in this: if Denis assumed that everyone would know Camille was the murderer from the start, why keep this as a surprise, almost casual, revelation half an hour from the end?
Robin Wood was a groundbreaking critic and historian of cinema.
Robin Wood's essays in Film International 2003-07:
1. 'Irreversible: Against and For', 2003:5 (vol. 1, no. 5)
2. 'Revenge is Sweet: The Bitterness of Audition', 2004:1 (vol. 2, no. 7)
3. 'Claire Denis: Cinema of Transgression, Part 1′, 2004:3 (vol. 2, no. 9)
4. 'Only (Dis)Connect and Never Relaxez-Vouz, Or I Can't Sleep. Claire Denis: Cinema of Transgression, Part 2′, 2004:5 (vol. 2, no. 11)
5. 'The Heroism of Disobediance and Deceit: Where is the Friend's Home?', 2005:2 (vol. 3, no. 14)
6. 'Exodus Collides with the Kedma', 2005:6 (vol. 3, no. 18)
7. 'The Skull Beneath the Skin: Patrice Chéreau and Son Frère', 2006:3 (vol. 4, no. 21)
8. 'Wild Reeds: A Film of the Past for Our Future', 2006:5 (vol. 4, no. 23)
9. 'From Ruggles to Rally; or, America! America! The Strange Career of Leo McCarey', 2007.3 (vol. 5, no. 27)
The Charming "Lithuanian Cary Grant": Walter Matthau in Hopscotch on Criterion
The Language of Lovecraft: Richard Stanley's Color Out of Space
The First Latina to Conquer Hollywood
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Craniosacral therapy (CST) bodywork can help you harmonize body, mind and spirit in a unique, holistic approach to healing.
This therapy has been used in the west since the late 1800s to help restore emotional and spiritual balance, and to promote wellness.
Before any physical contact, your practitioner will first elicit understanding of what your goals are, discussing what you are hoping to transform in yourself and in your life.
CST bodywork uses gentle manipulations ('palpations') of the synarthrodial joints of the skull, as well as light touches to the spine and pelvic areas, in order to restore natural rhythm and settle the central nervous system.
It also helps with resolving historic and traumatic forces that may have blocked energy and upset this balance, and helps you 'let go' of unwanted patterns of behavior and being.
Which conditions can CST bodywork help with?
You will find that CST will help you with most conditions, because the sense of relaxation and healing that it brings to the body and mind stimulates the natural power of your inherent health.


Using options will allow you to increase your leverage beyond the Reg T x2 leverage (or even the day trading x4 leverage) only if you buy options only, but not selling them. For example, to implement a pairs trading strategy on 2 different stocks, you would have to buy call options on the long side, and buy put options on the short side (but not sell call options). Otherwise the margin requirement for selling calls is as onerous as shorting the underlying stock itself.
The effective leverage is computed by multiplying the delta of the option by the underlying stock price divided by the option premium. If you buy an out-of-money (OTM) option, the delta will be small (smaller than 0.5), but the option premium is small also. Vice versa for an in-the-money (ITM) option. So you would have to find the optimal strike price so that the effective leverage is maximized. I personally choose to buy an at-the-money (ATM) call or slightly ITM call without actually computing the optimized strike, but perhaps you have reached a different conclusion?
Naturally, the shorter the time-to-expiration, the cheaper the option and higher the effective leverage. Additionally, for ITM options, their deltas increase as we get closer to expiration, which also contributes to higher effective leverage. However, the time-to-expiration must of course be longer than the expected holding period of your position, otherwise you would incur the transaction cost of rolling over to the further-month options.
The discussion of finding the right strike price based on its delta is moot if your brokerage's API does not provide you with delta for your automated trading system. In theory, Interactive Brokers's API provide deltas for whole options chains, and quant2ib's MATLAB API will pass these on to your MATLAB exeuction program too. However, I have not been successful in retrieving deltas using quant2ib's API. If you have encountered a similar problem, and perhaps have found the reason/cure for this, please let me know. For now, I am reduced to assuming that all my near ATM calls for different stocks have the same delta, and I increase this common value from 0.5 to close to 1 as time passes.
Options don't have MOO, LOO, MOC or LOC order types. If one uses market orders to buy at the open or close, one would incur significant transaction costs due to the much wider bid-ask spread compared to stocks. I try to use limit orders on options orders as much as possible.
If you have used options to implement stock trading strategies, and have experiences with these or other issues, please do share them here.
Reminder: my next pairs trading workshop will take place in New York on October 26-27th.


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About CFT > Our Experts > CFT People > Staff > Lindsay Benedetto
lbenedetto@cftexas.org
Lindsay is the Officer of Marketing and Communications in Relationships/Philanthropy, focusing on writing, editing, website content, email, audio and social media projects. She believes communication is at the heart of everything CFT does, and she has a passion for impactful storytelling, equity and inclusion, and process/systems management.
Prior to joining CFT, she worked as the development director and communications manager for the Polished Network, a Dallas nonprofit that supports professional women as they navigate their careers and explore their faith.
Lindsay holds a bachelor's in writing with a minor in theology from the University of Sioux Falls.
Lindsay Benedetto's Favorites
giving back, encouraging working moms on their journey of navigating a career while raising children
being outside with her four children, binge watching "The Walking Dead" with her husband, leading women's bible study, performing with her church's vocal team


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Die Spitalkirche ist eine denkmalgeschützte Kirche in Schwabach in Mittelfranken.

Geschichte
Das Schwabacher Spital wurde 1375 von der Nürnberger Familie Glockengießer unter Mitwirkung des Landesherrn, des Burggrafen Friedrich V. von Nürnberg, gegründet. Die erste Kirche stammte aus dem Jahr 1404. Die heutige Evang.-Luth. Spitalkirche St. Antonius und St. Elisabeth ist ein Saalbau aus den Jahren 1755/56 mit dem einbezogenen Chor von 1404. Der Turm der Kirche stammt aus dem Jahr 1885. Nach einem Bombenangriff im Oktober 1941 zerstört, wurde die Kirche im Jahr 1953 neu geweiht.

Literatur

Weblinks

 Informationen zur Kirche auf der Website der Evangelisch-Lutherischen Kirchengemeinde Schwabach-St. Martin
 Geschichte der Spitalkirche und des Spitals
 Die Orgel der Spitalkirche in der freien Orgeldatenbank Organ index

Kirchengebäude in Schwabach
Baudenkmal in Schwabach
Schwabach
Schwabach
Schwabach
Schwabach
Elisabethkirche
Kirchengebäude in Europa