Fix Need to replace power supply (fan), same model or new?
Need to replace power supply (fan), same model or new?
Also, I'm able to replace video cards and memory in my PC, but this power supply seems to be connected to 50 different things in my computer and I'm really just afraid to touch it. I'm sure it depends on my local area, but are there any recommended places for doing this sort of job? BestBuy, CompUSA, TigerDirect?
Preferred Solution: Need to replace power supply (fan), same model or new?
A: Need to replace power supply (fan), same model or new?
I realized as i was over-clocking my CPU and checking my fans that my power supply fan died. Most power supplies now come with 80mm fans in the power supply case. But like all fans they die over time. Mine for Example was a Master Cooler 600W PSU with a 2 year limited warranty. But that Warranty Expired.
First off Remove the screws on the power supply case.
Please notice the warning signs on the PSU. There still is enough power and chemicals inside of it to electrocute you so be careful.
Second take out the old fan. As u can see its the same as a 80mm fan inside most computers. But it only has 2 pins for power one wire is red the other is black. chuck that fan in the garbage or if it works keep it as a spare.
Third Look inside to see if there is dust or corrosion. Mine was full of dust but i cleaned it. as u can see the fan sits right above all of the components.
Forth get a fan that u are not using or a new fan you just bought. You can fit 80mm fans inside the PSU up to 5-90CFM or more but yes it will be loud but efficient. For me i used a old fan that came with my case i didn't feel like destroying my 3 fan turbine that hugs my heat-sink. Also as u can see i Zip tied the wire you don't want slack in the power supply.
Last screw on the fan to the face plate of the PSU then screw the face plate back on to the PSU. And there you have it an power supply fixed or upgraded for further cooling.
I'm sure this will prove to be a very helpful post, thanks.
Q: Do I need to replace my power supply?
I live in Florida and we have had some bad storms lately with the hurricane having past us. Yesterday my computer booted up and shut down fine and worked perfectly fine all day. This morning it will not power on but, the green light on the back of the computer goes on solid (does not flash) when I plug it in. I have a Dell Inspiron 546. Do I need to replace the power supply? Would an external power supply from Best Buy or CompUSA work the same so I could get the computer working today? Any help would be appreciated, thanks.
I have already unplugged, waited and replugged. Still, green light is on but, no power.
Everything thing else in the powerstrip is on and working including my moniter and speakers.
After unplugging everything except the power cable, again, green light is on but, won't power on.
Checked a different wall outlet and same thing. Also unplugged and changed voltage switch back and forth, still green light with no power.
Any chances this is the motherboard or would it bee the power supply? Just trying to figure out what the problem is here.
A:Do I need to replace my power supply?
it would be the power supply box.
Dear readers, Can someone can help me with a solution to use a normal power supply 24 pins to this pc. I saw a converter, can I use thishttp://www.ebay.com/itm/ATX-PSU-power-cable-24P-to-6p-for-HP-Z220-Z230-SFF-Mainboard-server-Workstat...or someobody have another Idea. Because I want to put a HD7670 videocard on it, but the HP Power Supply only offers 320 Watt.
Yeah, I hear noises from my computer tower and I believe it is the fan from my power supply. What is the safest and easiest way to replace the fan? Thanks.
Q: Need to replace a Power supply, I think!!
OK, here's the situation, my brother in Florida . . . me in Ireland!
Do we understand? Ok, I can't see his system, he can't turn it on, long distance bills not worth the added hassle.
Now that I've got that out of the way . . .
His system died about a month ago, and my Mom is going through email withdrawals (surprised the Heck out of her, as she never would have thought she could come to like anything to do with a computer)! Anyway, money being what it is, nothing has been done about it. I suspect a blown Power supply, also that is the cheapest thing to replace. His current Power supply is 250w and i was wondering if I could get him a 300w or 350w that will fit?
Remember, I'm not looking for troubleshooting tips to try to see if blah, blah, blah. I've gone through all that with him, and he says he followed my advice (telephone support is dreadful, but at least I could curse him out loud for his lack of knowledge) so I am looking to see if he will need to replace just the Power supply (by buying him one) or if that is not the end of the problem, if he will need to buy components, like new mob, etc.
So, I am just going to start with power supply, ok?
A:Need to replace a Power supply, I think!!
After posting this I thought about the issue with the power supply and HP must have installed the power supply upside down and that is why this power supplied died and why this unit was always super hot. I just looked at the power supply and yep I think it was upside down. For years I have been plugging this in on the upper right hand side not the left hand side. The only person who has worked on this computer was the guy who was hired by HP to replace the motherboard after two months since the board was defective from the get go. I wonder if he had taken it out and put it back in wrong? I don't know since I thought HP and the guy knew what they were doing and I had no idea to keep a close eye on how the power supply should be. Unbelievable!
Q: Solved: Is it safe to replace this power supply?
Hey, i have this Lenovo m58e(i think) PC with this power supply liteon ps-5281-01vf (280w) and i want to replace it with something like Antec earthwatts EA500 500W but i heard changing power supplies could damage the motherboard so any advice? is it okay to change this power supply??
A:Solved: Is it safe to replace this power supply?
It's somewhat debatable as to whether or not you'll be able to locate a suitable replacement anywhere near 500 watts.
the motherboard is a pci express ht2000. I want to upgrade to a 500w power supply, but I've read that certain motherboards will only have room for 20 power connectors and certain power supplies may not work because of that.
In short, I've searched a lot to no avail trying to find out if I can upgrade my power supply. Any help here would be greatly appreciated.
Is it an AMD board? AMD SW300?
In any case, replacement power supplies often come with both types. But you could always count them, too.
All components transferred to new case with 300w power supply. 2 days later she turned on the computer and power supply blew up due to switch moved to wrong power setting (230 => 110).
I replaced the power supply unit (400w) for her and all was working fine. 2-3 days after this the computer will not boot. It will not even get to the post stage, no beeps, no nothing and nothing shows on the monitor, yet all led's, fans, etc are seen to work and you can hear the hdd spinup.
I have reseated everything ,cpu, vid, mem just to make sure and all are inserted correctly.
Could this be a residual problem from the power supply blowup damaging the cpu or mobo somehow? or could the new psu be the problem?
If anyone can help me out here it would be much appreciated.
I have recently replace my power supply because it would not power up. So I replaced it not it turns on but no video. The HD light comes on so it seems as if it is working. Do you think the video card went bad and I should replace it or is the MOBO needs replace? Or maybe something else.
The other day, my Lenovo IdeaCentre H405 desktop "died". It looks like the problem is the power supply (a 280W PC6001). As long as I'm getting a new power supply, I thought I might as well get one with more power, since I believe the one I have has been reported as being somewhat underpowered. Also, I might want to be able to power a more capable graphics card that handles dual-display well. From "Googling" the PC6001, it looks like it's an ATX power supply. But, other than Max Power and ATX, I don't know what other specs to look for to make sure that a Power Supply is compatible. For example, on NewEgg.com, their selections also include: Modular, Main Connector (20pin, 20+4Pin, etc.), PCI-Express Connector, Haswell Support, +12V Railes, SATA Power Connector, CrossFire, SLI, PFC (Active, Passive, No), Fans (0, 1, 2, ...). What do I need to look for to find a more powerful (400W?) replacement. Thank you.
Q: How to replace power supply in HP Pavilion Slimline S3600t?
My computer simply stopped working one day and doesn't even power on. The only thing left for me to do is try to get a new power supply, as that is the only thing I can think could be wrong. Unfortunately, the power supply is no longer available at HP, so I have to go through reseller. But, even once I get the new one, I can't figure out how to remove the old one. Everything is so tight in that slimline case and I can't see how to properly get it out without dismantling the whole darn thing. Any chance someone has available a repair manual for this computer with detailed instructions? Thanks in advance!
A:How to replace power supply in HP Pavilion Slimline S3600t?
Q: Power Supply Question - Can I use the 230W power supply with a W540?
I have a W540, which currently uses a 170W power supply (20V 8.5A) I also just recieved a docking station for a P50 which has a 230W power supply showing 20V 11.5A. The connectors look the same, but I'm hesitant to try the 230W power supply in the W540. Should this be ok to use the 230W power supply with the W540?
A:Power Supply Question - Can I use the 230W power supply with a W540?
230 watts is the maximum power supply, it only supplies the power needed by the computer. I sold my W540, so i can't test this for you. But i do the use the ThinkPad X1 Carbon with the 230 watts power adapter without any problem.
I have a DellHP-145SNF Power supply.
These wire's are coming from the Voltage regulator/control PCB inside the P/S.
There are 6 wires involved.
1 - What is the Orange - "Power Good" looking for?
2 - What is the Brown wire for.
3 - What is the Purple - "+5VSB (Standby)" used for.
The Gray is Power ON when hooked to ground.
Q: Replace the power jack or replace the adapter?
The laptop in question is a Toshiba Satellite A105-S4334. A few weeks ago, it got dropped right on its corner with the power plug still in it; the little metal plug of the AC adapter is now slightly crooked, and the power jack has a little chip off the plastic part of it.
Anyway, after this mishap, it worked fine for another 3, 4 weeks, and then suddenly this week, it's refusing to power up. Its battery has been shot for a while (can't hold a charge), and I've been using it with the battery out. Why the sudden refusal to boot?
I took the whole thing apart---minus the little chip, the power jack looks totally fine and cosmetically sound. Put the whole thing back together, taking care to check that plugs were snug---still no power.
Stuck in the crappy battery; booted just fine (and then shut itself down after like 2 minutes).
How likely is it that it's the power jack which is broken? And why did it take this long to crap out, if it IS broken?
A new one of those silly jacks costs over $20 on eBay, so I want to make sure that it's the jack before I just up and buy one. Of course, if it's the AC adapter that's broken, that would cost even more! Bah.
A:Replace the power jack or replace the adapter?
So look to see what connection looks like between power jack and motherboard, If you feel u wanna/can re-solder yourself or the typically price to redo the whole power thing seems to run $125 parts/labor/warranty if you take it somewhere. So how much is it all worth to you?
Q: power supply atx 2.0 any suggestions as to a power supply?
Hey, i'm building a computer but i haven't realized that the power supply i need is an atx 2.0. What power supply should i get??
I was orignally looking at the Ultra X-connect but it doesn't support atx 2.0 Damn.
A:power supply atx 2.0 any suggestions as to a power supply?
Greetings,I have a Lenovo model 10181 (K450e), it doesnt have the performance switch, only the circular power button. My current specs are:Processor: Intel core i7-4790 CPU @ 3.6 GHz quad core 8 logical processorsMotherboard: CIB85MOS: Windows 10RAM: 16.0 GBGraphics Card: Nvidia GeForce GT 720Power Supply: 240 Watts I'm planning to upgrade to the EVGA GTX 1060 6GB SIngle Fanhttps://www.evga.com/products/product.aspx?pn=06G-P4-6163-KRWill this graphics card work? However I am unclear of which power supply to upgrade to.Any tips and assistance would be greatly appreciated. Thanks!
Unfortunately it must be the right current rating, I know, I've been caught that way too!
Maybe you can exchange it?
Yesterday in my house,electric fuse was switched to turn on cooker in my kitchen. During this power delivery was stopped for 4-5 second only.
When power back on then pc automatically turns on and just before bios show me :"?Power supply surges detected during the previous power on ASUS anti-surge was triggered to protect system from unstable supply unit.
Press F1 to continue.? And then pc booted fine to Windows.
Is this normal ? Did it damage something? Why i get that message is this normal?
Q: Dell Laptop Power Supply Fading In and Out--power jack is bad or loose?
I have a Dell 8600 about two years old. When I plug in the AC adapter, it intermittently fades to the battery as though the plug was pulled out (its not) and of course the screen fades in an out when every time it swithces--it does it every 30 to 60 seconds or so. I switched to a different AC adapter (I have a Dell 600M with the same AC adapter)-same thing so I know it is something internally. Any ideas?
A:Dell Laptop Power Supply Fading In and Out--power jack is bad or loose?
Ever since i got this new motherboard and CPU ive been having a bit of a nightmare with it.
The problem is that the motherboard will NOT power up at all with the 2 of the latest power supplies (600 watt+) i have.
It only seems to work with my Jeantech 450 Watt PSU and i cant for the life of me figure out why. Ive tried everything to get the board to work with the new PSU's. I had thought that the PSUs i got were dodgy but after testing out one in an older PC it worked fine.
Ive removed all parts and tried powering up and i cant get it to boot up. But the PC seems to work fine with the oldish 450 watt PSU which i find just unbelievable.
Can anyone help with this nightmare? Now on the Gigabyte site the CPU i have isnt listed as supported by this motherboard which is kinda worrying could this be the reason? If so how the old PSU boots up.
I just want to have the fracking thing working with the right PSU.
Try using the 8pin power with your new PSU, see if that works.
Hi, so I have had a powering issue with my previous power supply which was the Corsair CX600W so i purchased a newer power supply - the EVGA SuperNova G2 550W. I unhooked my old psu, hooked up my new one and the PC turned on and I turned it back off from the power button on the case. I also hava a boot drive problem so I unplugged the sata cables from my SSD and wanted to try to turn on the PC with only my HDD. I did this with the PSU switched off and the power cord unplugged. When I tried turning the PC on again the PSU made a clicking noise and nothing turns on. The motherboard Led's are lit up so it is definitely getting power but when I go to turn the computer on it just makes a quick clicking noise and nothing turns on. Any help is appreciated, thanks!
You may just need to drain the power off from the power supply and try again. Unplug the power to the power supply, press and hold the power button for 30 seconds, then plug it back in and try to turn on the computer again. If that doesn't put the old power supply back in and see if the PC works, or was the old one dead? If the PC works with the old one and not the new one then you may have gotten a faulty power supply.
I'm interested in the Toshiba G25 laptop but have heard that you can't use it on airplane seat power. It comes with a 120W AC power supply (15Vx8A), but I've been told that most airlines limit seat power to 75-90W max. Lind sells a 12V car adaptor for the G25, but specifically won't include an airline plug for this reason (which I can get independently, of course). I've read some interesting electrical discussions on this board. Can ya'll comment on the following or provide any general advice about power consumption?
1) Given that the voltage of the laptop and airline seat power pretty much match up (12-15V), if the amp draw on the laptop exceeds what the airline power supply can deliver, what will happen? Will it damage the laptop to feed it insufficient current? Will it shut down the laptop altogether? Merely dim the screen?
2) If I remove the laptop battery, which requires power to charge it, how much will that reduce the power need of the laptop? I'm not sure how to work the math, but the spec sheet states the battery supplies 4400mAh at 8A output. Does it require the same to charge it?


The U.S. National Telecommunications and Information Administration's first step toward developing a consensus on mobile privacy standards may be the wrong step, privacy advocates said.
The NTIA's first multistakeholder meeting on mobile privacy, Thursday in Washington, D.C., focused on ways to improve the transparency of the privacy practices of mobile apps, but several privacy advocates questioned the value of creating more transparency without rules on the way apps will use the personal data of users. Mobile privacy standards need to also address the fair collection of data, security and other issues in addition to transparency, said Susan Grant, director of consumer protection for the Consumer Federation of America.
"Transparency, in itself, has no value," added Pat Walshe, director of privacy at GSMA, a mobile carrier trade group. "People need tools, they need mechanisms, to express choice."
During much of meeting, meeting facilitator Marc Chinoy, president of the Regis Group, asked the audience of more than 200 people for ideas on how to improve mobile app transparency. Several participants offered ideas, including software that can tell mobile device users what private information they're sharing, and the use of icons to represent privacy concepts, instead of long, multipage privacy policies.
NTIA officials defended the focus on mobile transparency, saying it was a discrete area where participants in the process could possibly reach agreement. Participants in the process to develop privacy codes of conduct will decide the direction of the process in the future, said Lawrence Strickling, NTIA's administrator. "We had to start somewhere," he said.
Participants in the meeting voted on several areas that should be priorities. The group should, in the near term, develop a description of personal data used by mobile apps, should determine why data is collected and should determine what data is collected outside of an app's core functionality, participants said in a series of votes. The group should also focus on ways to notify users about the data collected in the appropriate context, they said.
But several participants urged the NTIA to take a step back and tell participants what it hopes to accomplish or describe in the multistakeholder process going forward. The NTIA's process to develop privacy standards "is unduly amorphous at this point," said Alan Raul, a privacy lawyer with the Sidley Austin law firm.
Berin Szoka, founder of free-market think tank TechFreedom, questioned whether a room full of people with "no business experience" would be able to create workable privacy standards for the mobile industry. The NTIA process will likely fail, he said, because it's led by the government and not industry.
The NTIA participants may be able to provide feedback to mobile app developers, but business decisions on privacy practices should be made "behind closed doors" by people in the industry, he said.
Much of the discussion, however, was on whether the NTIA should focus on mobile app transparency first. The NTIA process needs to define a complete set of fair information practices for mobile apps, in addition to transparency guidelines, said Chris Calabrese, legislative counsel at the American Civil Liberties Union.
"Transparency merely describes what the system is," he said. "If the system is unfair, a description of an unfair system is relatively valueless."
Other participants disagreed, saying a transparency standard would have value on its own. "Transparency alone has significant, inherent value," said Steve DelBianco, executive director of NetChoice, an e-commerce trade group. "Transparency about the status quo ... enables consumers to be informed, make choices about the services they use, or to change the settings in the services they use."
Transparency practices have "tremendous" benefits, added Jon Potter, president of the Application Developers Alliance.
App developers are interested in transparency and mobile privacy, he said. App developers want to see a single, uniform best practice for mobile privacy, he said.
"They don't like to be sued," he said. "They don't like getting letters from Congress. They don't like bad press. More importantly, they want consumers to trust their app."
Pam Dixon, executive director of the World Privacy Forum, urged participants of the NTIA process to give it a chance. "We have an opportunity to move forward and create a dialog," she said. "We have to put the consumer first. If everyone in the room can agree to that one thing, I think it will go far."


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Q: Clarifying the homomorphism's definition? So, I've heard a lot that homomorphism is a structure-preserving mapping between somewhat algebraic objects. Rigorous definition is:
$f(x \circ y) = (f x) \circ (f y)$.
And it's not clear enough for me why operation from the left (denoted as $\circ$) remains unchanged on the right? Does it mean that homomorphism suppose to work only with algebraic objects sharing the same operation? Or this definition is just not enough explicit, shadowing the fact that $\circ$ gets mapped as well to a, let say, $\bullet$ and those are different in general?
Intuitively it feels like $f(x \circ y) = (f x) \bullet (f y)$ would be more correct.

A: The theory of your algebraic structure introduces a language for expressing calculations. For example, the theory of a ring introduces symbols $0,1,+,-,\cdot$, and we have a language using those symbols to express calculation.
Usually, we express things in this language unless there is a compelling reason not to do so.
Among the things ring homomorphisms must satisfy is requires $f(x \cdot y) = f(x) \cdot f(y)$. When you read that equation, you should read both instances of $\cdot$ as referring to the operation given in the theory of a ring; in this sense, both sides refer to the "same operation".
What's different about the two sides is the interpretation of the operation:

*

*In $f(x \cdot y)$, one interprets the operation in accordance with the domain of $f$

*In $f(x) \cdot f(y)$, one interprets the operation in accordance with the codomain of $f$

The (correct!) idea you are expressing is that these interpretations may be completely different functions between sets.
IF you were in a situation where you really did have cause to express arithmetic in terms of names for the specific functions that serve as the interpretations, then if the interpretation of $\cdot$ in the domain is a function we call $\circ$, and on the codomain is a function we call $\bullet$, then you would indeed translate $f(x \cdot y) = f(x) \cdot f(y)$ into the expression $f(x \circ y) = f(x) \bullet f(y)$.

A: You're right. It's an abuse of notation. More formally, you should have something like the following.
Suppose $(G,\oplus_G)$ and $(H,\oplus_H)$ are groups. Then $f:G\to H$ is a homomorphism if and only if $$f(x \oplus_G y ) =f(x) \oplus_H f(y)$$ for all $x,y\in G$.
The subscript is often dropped and inferred from context -- that's the "abuse".

A: And your intuition is correct. Usually, the homomorphism is between two algebraic structures with distinct operations.

A: Does it mean that homomorphism suppose to work only with algebraic objects sharing the same operation?
No. It means that, when working with algebraic objects, we usually share the same symbol for different operations.
Herstein's book (p. 67) explains this issue in the context of groups:

Definition. Let $G, G'$ be two groups; then the mapping $\varphi:G\to G'$ is a homomorphism if $\varphi(ab)=\varphi(a)\varphi(b)$ for all $a, b\in G$.
In this definition the product on the left side - in $\varphi (ab )$ - is that of $G$, while the product $\varphi(a)\varphi(b)$ is that of $G'$.

Analogously, for a general homomorphism $f(x \circ y) = (f x) \circ (f y)$, the symbol $\circ$ on the left stands for the operation in the domain, while the symbol $\circ$ on the right stands for the operation in the codomain.

A: Yes, you are right. Take, for instance, $A=B=\mathbb{R}$, and take the usual sum ($+$) on $A$ and the usual product ($\cdot$) on $B$. Then a homomorphism between the two structures $(A,+)$ and $(B,\cdot)$ is a function $f:A\longrightarrow B$ such that for each $x,y\in A$ we have
\begin{equation}
f(x+y)=f(x)\cdot f(y)
\end{equation}
An example of such function is the exponential, $f(x)=e^x$.

redpajama_set_name: RedPajamaStackExchange


This morning I walked my two dogs, Sam and Danny, to the park. My original plan was not to walk anywhere – just chill on my deck with my coffee, bible and journal – in that order! Hey, being Lent I was being good and setting aside some time in the morning to pray right? I hoped God was watching. But nevertheless I felt something nagging me to get out of the house and free my two boys from their prison of the house yard, so off we went. I needed the exercise anyway.
So there I am trudging through the wet grass, sun blinking through the green trees and my Labrador splashing through the creek (with a grin a mile wide) when I was struck – for about the thousandth time – by the power and freshness of nature. I even sang 'Morning Has Broken'. I found myself in the forest staring in wonder at a massive spider web glistening between the trees, and in that moment I experienced the peace of God. God had been waiting for me, actually; almost like He goes to all this effort to put on a display of epic proportions each morning hoping someone will notice. This seemingly ordinary place was a place of power.
The Church has always tapped into the power of places, hence the practice of pilgrimage to holy places like Jerusalem, Rome, and the famous Camino. People have always journeyed somewhere physical to experience God. Moses led the people of Israel through the desert to Mt Sinai, the prophet Elijah had a special connection with God on Mt Carmel, and Saint Francis of Assisi journeyed to the holy mountain 'La Verna'. One of my most treasured memories was walking through the forest of La Verna and standing in the very spot where Francis saw a vision of Jesus and received the stigmata. Powerful stuff can happen in physical places!
Do you have a special spot you go to get away? A favourite tree, park, beach, mountain or headland? You wouldn't be alone; Jesus would often "withdraw to private places and pray", leading his disciples up mountainsides in order to get away from the craziness of the world and connect with His Father. It's no different for us than it was for Him. I think we have hardwired into our DNA a connection with physical places; God seems to speak to our souls there in a way that we don't experience anywhere else, especially when we're so often locked away in our caves scrolling through electronic devices. For some people it may be their room, their car, yard or back deck.
The important question is; where is it for you? Wherever it is, this Lent, go there. God will be waiting for you.


If you're new to Photoshop Elements, you're likely just beginning to see how versatile and powerful the program is, and just how many techniques there are to accomplish nifty, creative tricks. One such feat is combining two photos on a single page � a useful effect if you want to show a before-and-after version of an image or a similar side-by-side comparison. Here's how to accomplish the... One photo each 10 seconds = 6 per minute. If we are working at a final frame rate of 30fps (Frames per second) that means that I will need to shoot 5 minutes for each second of final footage. If we are working at a final frame rate of 30fps (Frames per second) that means that I will need to shoot 5 minutes for each second of final footage.
29/01/2009�� Find out why Close. Photoshop- How to Make a Picture With Many Pictures Inside of it oddodd2112. Loading... Unsubscribe from oddodd2112? Cancel Unsubscribe. Working... Subscribe Subscribed... And let's say we'd like to cut it into jk pieces each m by n pixels, using Photoshop 7. For the example let's assume j=3 and k=2, id est, we'd like to make 6 square pieces, each 100 by 100 pixels. For the example let's assume j=3 and k=2, id est, we'd like to make 6 square pieces, each 100 by 100 pixels.
You may also want to check out other free photo-editing whether you prefer to use a premium program like Photoshop or one of the many web-based alternatives currently in existence. Posted 22 how to make rca cables out of speaker wire One major flaw in Affinity Photo though, compared to Photoshop with Camera Raw, is that Raw editing is final/�destructive� in Affinity Photo where Camera Raw simply adds a sidecar file to the Raw file and you can make modifications at any time.
In this article, I�ll explain the ins and outs of multiple image printing, and you�ll learn how to print one image (or many) several times on one sheet of paper using the built-in Photoshop Picture Package tool. You�ll also learn why Contact Sheets might be your tool of choice in some scenarios.
Adobe Photoshop Elements 2019 is photo editing software used by anyone who wants to edit and create with their photos. It offers easy ways to get started, effortless organisation, step-by-step guidance for editing and fun ways to make and share stunning photo creations.
16/10/2015�� how to create a photo mosaic in Photoshop. There are many free applications that can be used to create a photo mosaic effect instantly and easily.


Leon Shirley is a practicing lawyer in the state of Alabama.
Lawyer.com can help you easily and quickly find Andalusia Criminal Lawyers and Andalusia Criminal Law Firms. Refine your search by specific Criminal practice areas such as DUI-DWI, Felony, Misdemeanor, RICO Act, White Collar Crime and Traffic matters.


text:
Q: Slim Python Dockerfile not executing I created a slim docker file for my app:
FROM python:3.7-slim-stretch AS build
RUN python3 -m venv /venv

RUN apt-get update && \
    apt-get upgrade -y && \
    apt-get install -y git && \
    apt-get install -y build-essential && \
    rm -rf /var/cache/apt/* /var/lib/apt/lists/*

ADD ./requirements.txt /project/
RUN /venv/bin/pip install -r /project/requirements.txt

ADD . /project
RUN /venv/bin/pip install /project
WORKDIR /project

FROM python:3.7-slim-stretch AS production
COPY --from=build /venv /venv
CMD ["/venv/bin/python3","-m", "myapp"]

The docker is building and working. The running python executable is copied from the build image. (Verified, if I remove "/venv/bin" it won't run).
 However, to save some space I want to change my production base docker to:
FROM debian:stretch-slim
But then I'm getting an error:
docker: Error response from daemon: OCI runtime create failed: container_linux.go:345: starting container process caused "exec: \"/venv/bin/python3\": stat /venv/bin/python3: no such file or directory": unknown.

Now, I don't understand this error. I can see the python executable is there, why he wouldn't run? Whats in the base python docker image allow it to run?

A: Go in your venv in your container and ls -l the bin directory.
lrwxrwxrwx 1 root root   21 Dec  4 17:28 python -> /usr/local/bin/python
Yes python is there but it is a symlink to a file which does not exists.
You can go around this first problem by using RUN python3 -m venv --copies /venv in your Dockerfile.
But you will then hit the following error message:

error while loading shared libraries: libpython3.7m.so.1.0: cannot open shared object file: No such file or directory

So you will finally need to install the exact same version of python in your image as the one available at build time.


text:
package com.rackspace.com.papi.components.checker.cli

import javax.xml.transform.stream._

import org.clapper.argot.ArgotUsageException
import org.junit.runner.RunWith
import org.scalatest.FunSuite
import org.scalatest.junit.JUnitRunner

@RunWith(classOf[JUnitRunner])
class Wadl2CheckerSuite extends FunSuite {

  test ("--help should generate usage info") {
    Wadl2Checker.parser.reset()
    intercept[ArgotUsageException] {
      Wadl2Checker.handleArgs(Array("--help"))
    }
  }

  test ("-h should generate usage info") {
    Wadl2Checker.parser.reset()
    intercept[ArgotUsageException] {
      Wadl2Checker.handleArgs(Array("-h"))
    }
  }

  test ("-bad_data should generate usage info") {
    Wadl2Checker.parser.reset()
    intercept[ArgotUsageException] {
      Wadl2Checker.handleArgs(Array("-bad_data"))
    }
  }

  test ("Too many params should generate usage info") {
    Wadl2Checker.parser.reset()
    intercept[ArgotUsageException] {
      Wadl2Checker.handleArgs(Array("input","output","junk"))
    }
  }

  test ("-d should set removeDups") {
    Wadl2Checker.parser.reset()
    assert (Wadl2Checker.removeDups.value == None)
    Wadl2Checker.handleArgs(Array("-d"))
    assert (Wadl2Checker.removeDups.value.get == true)
  }

  test ("-r should set raxRoles") {
    Wadl2Checker.parser.reset()
    assert (Wadl2Checker.raxRoles.value == None)
    Wadl2Checker.handleArgs(Array("-r"))
    assert (Wadl2Checker.raxRoles.value.get == true)
  }

  test ("--remove-dups should set removeDups") {
    Wadl2Checker.parser.reset()
    assert (Wadl2Checker.removeDups.value == None)
    Wadl2Checker.handleArgs(Array("--remove-dups"))
    assert (Wadl2Checker.removeDups.value.get == true)
  }

  test ("-v should set validate") {
    Wadl2Checker.parser.reset()
    assert (Wadl2Checker.validate.value == None)
    Wadl2Checker.handleArgs(Array("-v"))
    assert (Wadl2Checker.validate.value.get == true)
  }

  test ("--validate should set validate") {
    Wadl2Checker.parser.reset()
    assert (Wadl2Checker.validate.value == None)
    Wadl2Checker.handleArgs(Array("--validate"))
    assert (Wadl2Checker.validate.value.get == true)
  }

  test ("no params should set source and result with input/output stream"){
    Wadl2Checker.parser.reset()
    Wadl2Checker.handleArgs(Array())
    assert (Wadl2Checker.getSource.asInstanceOf[StreamSource].getInputStream() != null)
    assert (Wadl2Checker.getSource.asInstanceOf[StreamSource].getSystemId() == null)
    assert (Wadl2Checker.getResult.asInstanceOf[StreamResult].getOutputStream() != null)
    assert (Wadl2Checker.getResult.asInstanceOf[StreamResult].getSystemId() == null)
  }

  test ("one params should set source to systemid and result to stream"){
    Wadl2Checker.parser.reset()
    Wadl2Checker.handleArgs(Array("test.wadl"))
    assert (Wadl2Checker.getSource.asInstanceOf[StreamSource].getInputStream() == null)
    assert (Wadl2Checker.getSource.asInstanceOf[StreamSource].getSystemId() != null)
    assert (Wadl2Checker.getResult.asInstanceOf[StreamResult].getOutputStream() != null)
    assert (Wadl2Checker.getResult.asInstanceOf[StreamResult].getSystemId() == null)
  }

  test ("two params should set source and result to systemid"){
    Wadl2Checker.parser.reset()
    Wadl2Checker.handleArgs(Array("test.wadl", "out.xml"))
    assert (Wadl2Checker.getSource.asInstanceOf[StreamSource].getInputStream() == null)
    assert (Wadl2Checker.getSource.asInstanceOf[StreamSource].getSystemId() != null)
    assert (Wadl2Checker.getResult.asInstanceOf[StreamResult].getOutputStream() == null)
    assert (Wadl2Checker.getResult.asInstanceOf[StreamResult].getSystemId() != null)
  }

}

redpajama_set_name: RedPajamaGithub


I received a gift that I will never forget. I was given the Let Me Hold You Longer book today that was truly inspirational. It was nicely wrapped on my desk with a note attached from someone called "Anonymous." However, I do believe I know who it is. There are parts of the letter that give it away. For example, allowing this teacher to come in late...I have a pretty good idea who that is.
Karen Kingsbury created a reminder that the years of childhood fly too quickly by us. Most of us remember and capture our children's "firsts." Karen encourages readers to try and recognize and savor the often fleeting "lasts" - those milestones that so easily go unrecorded.
I know you can't possibly read what is on this page so I will include a little of it below. It is so touching.
There are no photographs or parties when a child takes his last nap or catches tadpoles the last time. For the most part, it's impossible to know when a last moment actually occurs. Nothing signals a mother to stop and notice the last time her little boy runs and jumps into her arms. Would you hold on longer if I'd known it was the last time? And so I began to write. Sometimes tears in my eyes, I chronicled the life of a child and all the last times we might miss along the way. In this process, my first children's book was born Let Me Hold You Longer .
This book is a true treasure for anyone who has ever loved a child.
If you are taking the time to read this today, please take the time to let your children know you love them. I also hope it inspires you to show love, patience and care today for the students in your class or on your campus. All too often, we are the only stability some children have in their lives.
November is a month of giving thanks. I'm thankful to the anonymous person who left this wonderful gift on my desk and my own children and the 600 children on my campus.


text:
Last updated October 5, 2016
Akerman's search for images that represent nothing, and mean nothing else (except perhaps themselves – and even this is difficult enough) while she focuses her camera on observing the minutiae of women's lives, is expressed in the first instance by her style: distant, clean, sober, looking at the image outside of the image. Rootless, detached images. Images in the Diaspora. Is it possible to return home, to where the image can exist, outside of the commandment? Is such an image even possible? (Dana Linssen on Akerman's filmmaking)
Despite their apparent simplicity, Akerman's assured framing and narrative, built out of blocks of real time intercut by radical ellipses, are not easily replicated. Rather, the film's impact is indirectly evident in the emergence of a new phenomenological sensibility and approach to observation and the weight of time... (Ivonne Margulies on Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles)
Unbelievable, unbearable news, but just confirmed by Libération.
Chantal Akerman has died.
Links to online, freely accessible studies of her work and to tributes to it will continue to be added below in the next days (as they will, undoubtedly, at KeyFrame Daily | Fandor, and elswehere). It's the only way that Film Studies For Free can process this news.... Incroyable....
By / With Chantal Akerman
Interview with Chantal Akerman, recorded November 2013. By Ricky D'Ambrose
Chantal Akerman, 'Almayer's Folly: Synopsis and Statement of Intent', LOLA, 2, 2012
Chantal Akerman + Catherine Breillat. Film and Theory. 2001 (By European Graduate School Seven Video Lectures)
Chantal Akerman Film Director "Crossing Cinematic Borders"
Studies of Ackerman's work
ADDED Senses of Cinema special tribute dossier (December 2015): Chantal Akerman: La Passion de L'Intime / An Intimate Passion
Cristina Álvarez López and Adrian Martin,' Chantal Akerman: a Primer', Sight and Sound, October 6, 2015
Janet Bergstrom, 'Keeping a Distance: Chantal Akerman's Jeanne Dielman', Sight and Sound, November 1999
Nicole Brenez, 'Chantal Akerman: The Pajama Interview', LOLA, 2, 2012
Rose Capp, 'A couch in New York: Chantal Akerman and sex in the city', Screening the Past, December 1, 2010 (Link via Adrian Martin)
Adriana Cerne, 'Maternal Matters: Jeanne Dielman and Emma Bovary Strange(ly) Familiar Reflections on Everyday Domestic Scenes', Studies in the Maternal, 1:1/2, 2010
Maria Fosheim Lund, 'Deja-Vu Melodrama: An Iconographical and Iconological Analysis of "Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles', Out 1 Film Journal (January 27, 2009)
Catherine Fowler, The films of Chantal Akerman: a cinema of displacements, PhD Thesis, University of Warwick, 1995
Fernando Franco, Les Variations Dielman [video, 2000]
Ed Henderson, 'Jeanne Dielman...', Slant Magazine, June 8, 2003
Alex Hudson, 'Chantal Akerman for beginners', Sight and Sound , June 4, 2015
Alisa Lebow, 'Memory once removed: indirect memory and transitive autobiography in Chantal Akerman's D'Est', Camera Obscura May 2003
Dana Linssen, 'A Letter', LOLA, 2, 2012
Ivone Margulies, 'A Matter of Time: Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles', Criterion Collection Essays, August 18, 2009
Ivonne Margulies: 'La Chambre Akerman: The Captive as Creator', Rouge 10, 2006
ADDED Barbara McBane, Walking, Talking, Singing, Exploding . . . and Silence: Chantal Ackerman's Soundtracks', Film Quarterly, Fall 2016
Drew Morton, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles: Day x Day x Day [video, 2014]
Vitro Nasu's website content on Akerman (link via Adrian Martin)
Griselda Pollock, 'The Long Journey: Maternal Trauma, Tears and Kisses in a Work by Chantal Akerman', Studies in the Maternal, 1:1/2, 2010
Jonathan Rosenbaum, 'Chantal Akerman: The Integrity of Exile and the Everyday', LOLA, 2, 2012
Alison Rowley, 'Between Les Rendez-vous d'Anna and Demain on Déménage: m(o)ther inscriptions in two films by Chantal Akerman', Studies in the Maternal, 1:1/2, 2010
Marion Schmid, 'Between Literature and the Moving Image: The Cinematography of Chantal Akerman', Revue critique de fixxion française contemporaine, 2012 (thanks to Adrian Martin for the link)
Zain Jamshaid, 'Invested in Expression or in Its Destruction?: The Politics of Space and Representation in Chantal Akerman's Cinema', Senses of Cinema, 64, 2012
Tributes to Akerman
By David Hudson at Keyframe Daily | Fandor
Miriam Bale, "Five Lessons from Ten Great Filmmakers: Chantal Akerman', Fandor, October 5, 2012
Jeanne Dielman, 224 scènes, 5 minutes, 36 secondes, 24 centièmes. from Collectif Ekphrasis
BERLIN: Testimony of a City by Andy Moore and Ian Magor
Using Chantal Akerman's News from Home [1977] here the city of Berlin is the stage for another journey through another city. Reflective and reversing timelines encourage the visual to interact with the spoken testimony.
Ripples from Ian Magor
The portrayal of desire on the cinema screen is necessarily problematic. Too often it is an assertion of masculine power, sometimes an idealised notion of romance, rarely the reality of sagging mattresses and aching muscles. Chantal Akerman's Je, tu, il, elle is set alongside two typical Hollywood portrayals of sexual passion.
Slow / Motion from Daniel Mcilwraith and Jessie McGoff
The personal and the public. Private letters and open spaces. Home, exile. Chantal Akerman's News From Home is often torn between personal introspection and visual ethnography. Here, its slow composure is put in to conversation with the chaos of Godfrey Reggio's Koyaanisqatsi. Whilst the former tackles the personal and transcends towards the universal, the latter uses the universal to invoke a self-observating experience. If Koyaanisqatsi signals a life out of balance, News From Home tries to rectify that balance - in pace, in space and in the everyday. - Jessica McGoff
Chantal Akerman: Too Far, Too Close (Eng) from ARTtube on Vimeo.
Chantal Akerman: Too Far, Too Close (Eng) from ARTtube
Belgian director Chantal Akerman gained world success with her masterpiece Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles (1975) and consolidated her reputation with films like Toute une Nuit, Les années 80 and Le Marteau. In the early nineties Akerman shifted her career from strictly film into the arts. She participated, amongst other exhibitions, at dOCUMENTA 10 and 11. It dated from 1995 since Akerman exhibited in her native country with a massive retrospective. In Too Far, Too Close the M HKA presented an overview from Akermans oeuvre starting with the 1968 production Saute ma Ville and ending with her most recent work, Maniac Summer.
Labels: Avant-Garde and Experimental Cinema, Belgian cinema, Chantal Akerman, documentary, feminist film, feminist film studies, feminist film theory, feminist filmmaking, Francophone cinema
NO HOME MOVIE: In Warm Memory of Chantal Akerman (...

redpajama_set_name: RedPajamaCommonCrawl


text:
CHIPS Articles: Naval STEM Internship Opportunities Available for High School and College Students
Naval STEM Internship Opportunities Available for High School and College Students
Nov. 30 deadline to register
By Scott Hochenberg, Office of Naval Research - November 13, 2020
ARLINGTON, Va.—Are you a high school or college student interested in STEM (science, technology, engineering, mathematics) and seeking career development? Do you know someone who fits this description?
The Office of Naval Research (ONR) and the Department of the Navy's (DoN) Naval STEM education and outreach program are offering two Navy and Marine Corps science and technology internships. The registration deadline is Nov. 30.
"Interesting, real-world internships are critical to the future success of an individual student, as well as the success of the Naval Research Enterprise," said ONR program officer Dr. Reginald Williams, who leads the programs. "They are essential to ensure the next generation will play key roles in national security."
High school students can sign up for the Science and Engineering Apprenticeship Program (SEAP):
• SEAP is an eight-week high school apprenticeship opportunity with one of nearly 35 naval laboratories or warfare centers.
• Duration: Eight weeks.
• Stipend amount: $3,500 new students; $4,000 returning students.
• For more information: https://seap.asee.org/.
Undergraduate and graduate students can enroll in the Naval Research Enterprise Internship Program (NREIP):
• NREIP is a 10-week undergraduate and graduate research internship opportunity with one of nearly 45 naval laboratories or warfare centers.
• Duration: 10 weeks.
• Stipend amount: $7,000 new undergraduate; $8,500 returning undergraduate; $11,000 graduate.
• For more information: https://nreip.asee.org/.
Participating students will gain real-world, hands-on research experience and skills, while being introduced to the Navy and Marine Corps science and technology environment.
"We are excited ONR is able to provide a unique career-development opportunity, via virtual internships, during the challenging COVID-19 pandemic. Through these virtual internships, we are continuing to develop the next generation of naval STEM leaders," said Williams.
Both internships reflect Naval STEM's commitment to expanding learning opportunities for students, fostering greater diversity and inclusion, and strengthening partnerships between naval stakeholders.
In additional resource offered by Naval STEM is Naval Horizons—a video series designed to inspire college students by raising their awareness of real-world naval science and technology challenges. Learn more athttps://navalhorizons.asee.org/.
Scott Hochenberg is a contractor for ONR Corporate Strategic Communications.
TAGS: Cybersecurity, InfoSharing, KM
PANAMA CITY, Florida - Naval Research Enterprise Internship Program (NREIP) interns toured Naval Surface Warfare Center Panama City Division (NSWC PCD) facilities to learn about various projects and mission areas at NSWC PCD July 12, 2018. U.S. Navy photos by Susan H. Lawson
DON Public Affairs Policy and Regulations
DON Information Technology/Cyberspace Efficiency Initiatives and Realignment
Ensuring the Quality of Information Disseminated to the Public by the DON
DON Web Presence Policy: The Registration, Compliance of, and Investment in, All Unclassified Web Sites and Uniform Resource Locators
Federal Register Vol. 67, No. 36


ProWein is the world's largest and leading trade fair for wine, and this year, we are delighted to be taking part along with a strong contingent representing the very best of New Zealand wines. Learn more about ProWein here.
The event is held from 18 - 20 March 2018 in beautiful Düsseldorf in Western Germany. Make sure you come and see te Pā in Hall 9 at Stand E-36, to taste our range of acclaimed wines, learn more about our unique family-owned business and Maori heritage, and enjoy some fine Kiwi hospitality.
Please get in touch with our team directly to set up any appointments regarding distribution.


To enjoy the outdoor experience of firing at pheasants, you can opt for a 12, 16 or the 20 bore. In some instances, you might see a 28 bore in use. Generally, anything below the 32-inch bore is good enough provided it's given a good choke. Another determining factor is what is being shot at and the build of the bore. If you are firing on high driven pheasants, the 4s and five cartridges are best recommended.
When dealing with lethal firing tools, your safety must be your top priority. Carefully listen to the host safety briefing as this helps determine where the beaters and flankers are situated.
Your shooting differs depending on the circumstances. Take time to figure out the right drill that matches your ground game, pigeons, and corvids. Other questions to figure out are the horn required to start the drive, whether the numbering is from left to right or vice versa. If you are moving up two to three expect to pick empty cartridges on each drive.
When using a peg use your field craft to determine the direction in which the birds might originate and fly towards. Will there be a crosswind or not? What is the approximate height of ascent? This helps determine the duration of your kill window. After a few swings visualize yourself taking a couple of shots. This helps capture several shots provided you are in a firm state of mind. A few of these uncertainties can be erased too.
As the bird perches up and flies your way, take a careful look to judge its speed and approximate height. Another area to consider is the line. This is important when looking adjusting your feet to a suitable position, particularly as you mount the gun.
Try to focus one eye on the beak and head of the pheasant, while the other should look at the space right in front of the bird; where it is headed. This strategy drastically improves your kill rate.
As you move your feet, consider the bird you are trying to shoot. The feet adjustments must be in accordance with your body coordination. Readjust the balance at the back of your feet as you address the bird. This task must be completed before the bird flies through your kill window. Any sign of slack and you will miss out on the kill window. Avoid rushing any shot. Any failure to readjust your feet accordingly as you mount the gun will see your position in an uncomfortable pose.
Pheasants that are hoisted to an average or medium range will require slightly more weight concentrated on your back foot. A slightly more aggressive stance involves lowering your cheek as well as the stock as you take the bird at its front. A bird at a high range – that is over 40 yards – requires a much later shot that will be out of range.


1-Neutrogena Deep Moisture Body Lotion for dry skin (400ml).
1-Neutrogena Norwegian Formula Instant Moisturizing Cream (200ml).
1-Neutrogena hand cream unperfumed (50ml).
The Neutrogena Deep Moisture Body Lotion for dry skin works deep in the skin *, provides it with optimal moisture from the first application and keeps it for 24h.
The Neutrogena Norwegian formula immediately absorbing moisturizer provides the skin with soothing moisture - for 24 hours.
The Neutrogena hand cream unperfumed with the Norwegian formula provides immediate and long-lasting effect even for extremely stressed, attacked and dry hands.
application Note Body lotion: Apply daily to the entire body, ideally after showering or bathing. The user-friendly pump dispenser ensures easy dosing. It dries quickly into the skin without leaving a sticky or greasy film, so you can dress immediately after creaming.
Moisturizer: Ideal for daily use - for the body, hands and face.
The hand cream is highly concentrated, so that a single drop is sufficient for the application. Simply apply to hands and massage gently.


text:
Q: How to rename junction target without breaking link If I rename a folder which is the target of a (or multiple) junction, is there any way to update all the junctions to point to the renammed folder instead of just breaking?

A: I just tried this. It doesn't work if you rename the folder as the junctions still point back to the original folder. However, a chain of junctions would work:
mkdir source
junction dest source
move source source2
junction source source2

This now means that dest links to source and source links to source2 (where source2 is the only folder containing data). I'm not sure how this works internally, though it seems to work as desired.
You have your junctions set up so you can rename the folder and link to it using the same folder name your existing junctions point to.

A: A junction target does not know about any junctions targeting to it (in other words, there's no backlink from a junction target to the junction itself). So the only proper solution requires scanning all directories for junctions and then update them accordingly.


text:
Clarice Lispector's
The Chandelier
by Nick Oxford
by Clarice Lispector
tr. Benjamin Moser and Magdalena Edwards
(New Directions, March 2018)
Reviewed by Nick Oxford
In the early 1920s, during the Russian Civil War, Clarice Lispector's family fled what is now Ukraine for Brazil, settling in Rio de Janeiro shortly after her mother's death in 1930. Clarice would enter the University of Brazil's law school, one of the country's most prestigious programs in 1937, during which time she also began working as a journalist as well as publishing her earliest known story in 1940. Her father would die months later. In 1943, Lispector's first novel, Near to the Wild Heart, would come out to incredible acclaim from the Brazilian literary scene. Its sheer difference would be what critics lauded, claiming it was outside the language and tradition of anything published in Brazil up to that point. She would also marry her husband that same year, a man who joined the Brazilian Foreign Service after law school and whose assignments kept the married couple traveling further and further afield in the first half of her career. Shortly after the publication of Near to the Wild Heart, Clarice and her husband would move to Northern Brazil, and then to Naples. There she would write The Chandelier, only to find far less acclaim and enthusiasm than Near to the Wild Heart had enjoyed.
Lispector's life sounds disruptive and choppy because, quite simply, it was. Alienation and estrangement became constant states of being for her. After Naples would come Bern, Switzerland which she later described as having an "appalling silence" that would not be relieved until she published her third novel, The Besieged City, some years later.
All these decades of traveling and displacement inevitably came to define the tone and style of Clarice's writing; they are vividly reflected in the distance and isolation felt by her protagonist Virginia in The Chandelier. Homesickness and aimlessness also beleaguered her; no doubt these circumstances inspired the anxiety and dislocation faced by Virginia in The Chandelier while also casting a dark specter over Lispector herself.
The Chandelier follows the life and mind of Virginia from her early years on her family's farm, to a chaotic and lonely life in the city where she strives to discover who she is and who she wants to be—in essence, "to free herself from maternity, from love, from intimate life, and in the face of other people's expectations to refuse."
The Chandelier amplifies the lonely interior monologues and infighting that had been the hallmark of Near to the Wild Heart. At the same time, it challenges the reader even more than any of Lispector's earlier texts: the novel becomes a proving ground, where the only way to succeed is to persevere through the long sentences and blurred boundaries between Virginia's life and her contemplation thereof.
Lispector's early stories and first novel are very visibly an introduction of sorts to the frenetic thoughts and anxieties Virginia experiences. The early stories often employ some of the same fears and stressors Lispector came to retool for her novels. The heroine of "Jimmy and I," for example, is a bookish and seemingly ultra-logical and academically-inclined girl whose attraction to the handsome and charming Jimmy allows her to accept more primitive or animalistic ideas about humanity and the relations between the genders. Later this heroine falls for a male teacher who stokes her interest in Hegel, a reversion toward intelligence that devastates Jimmy and exposes his ideological inconsistencies. The protagonist's lack of emotion and understanding of Jimmy further reinforce this divide between the mind and the material realm. This emphasis on the protagonist's mind takes center stage in Joana's attempts at self-determination vis-à-vis her husband in Near to the Wild Heart and in Virginia's contemplations throughout The Chandelier. Joana and Virginia are almost outside reality, so deeply are they entrenched within their racing minds and their abstract meditations upon themselves and the world. Lispector's stories, similarly, tend to focus on the relationships between men and women, with extra emphasis on the prescribed identity of women: find a husband, defer to him, and raise children. In so many of these stories, melodramatic and even metaphysical questions come to determine the true stakes for Lispector's protagonists: the speaker in "The Triumph" asks, "How would she live now?" while the narrator of "Excerpt" wonders "who will tell all these people I exist?" This stereotypical domestic life either must withstand a direct attack (which happens in "Jimmy and I"), or ends up falling away in the light of the self-actualization Clarice's female protagonists strive for (as in "The Triumph"). The protagonist in "Interrupted Story" directly pits herself against her boyfriend: "Either I destroy him or he'll destroy me."
Arriving as it does after Near to the Wild Heart, The Chandelier comes with all the freight of being a second novel—a category practically cursed in how such titles almost inevitably pales in comparison to the first work. A large part of this failure, I suspect, lies in the success of the first novel. Some artists hit gold the first time and live the rest of their careers in the shadow of that initial success. Others attempt to take what they were most interested in within the first book and push it further, in fact too far, in the second. Here Lispector struggles with both difficulties, neither of which she quite overcomes if the similarities between her first two novels are any indication. The Chandelier handles romantic relationships much as the first novel does, but without concentrating on them the way many of the early stories do. Coming out, as it does, during Lispector's many travels with her husband, The Chandelier deals with a larger alienation and disconnect not only from society, but from other people, and even from oneself. Virginia's monologues and internal struggles often feel more akin to the philosophical wrangling of a person struggling for the right language to wring herself out. Near the end of the book's first part, Virginia laments how "Suddenly the words from which she lived in childhood seemed to have run out and she couldn't find any others" as well as how words define her deepening relationship with her lover Vicente: "She started to change into Vicente's words and sometimes she would feel that it was more than words that were transformed." This linguistic transformation gives rise to perhaps the most convincing and joyous moment in the novel, where Virginia is able to speak "the first word of her new experience." This crisis of identity and where Virginia sees herself within the world is at least glimpsed at in that beautiful moment between her and Vicente.
In the first half of the novel, Virginia's brother Daniel serves as someone she respects, follows, and almost worships. He criticizes Virginia as "common and stupid," a declaration Virginia completely accepts, "Yes, by God she was" as she allows herself be controlled by him: "it was so hard for him to be directed even a single time by Virgínia." Daniel shapes Virginia into the person he wants her to be. Virginia spends her childhood—and most of the novel—idolizing her brother and conforming to his ideas. This oddly perverse and controlling relationship profoundly impacts Virginia's self-development, most especially when he orders her to spend an entire day in the family's basement and think deeply. For Virginia this moment of apparent exile leads her toward an uncharted understanding of herself, even as her constant thoughts of Daniel interrupt the entire sequence. "The fear of disobeying Daniel—a fear that wasn't a thought and didn't bother it—assaulted her and also a curiosity to go forward without interruptions, that made her move beyond her own knowledge." Clues to this bizarre and manipulative relationship are embedded even in the earliest part of the novel: "From the time his [Daniel's] sister was born he had taken her and secretly she was his alone." On the same page Lispector even writes that Daniel "didn't even love her, but she was sweet and simple, easy to lead toward any idea."
In Lispector's mental framework, Daniel is connected to the brutally physical—a man "stuck in his own body" who "detested whatever he couldn't see"—while Virginia is aligned with the abstract and the mind's processions: "She'd see things separated from the places where they lay, loose in space as in an apparition." David's impact on Virginia's life reaches an emotional peak at the end of the childhood narrative as Virginia senses that something essential to her has been damaged and taken from her. "Without awareness she was seeing that her lightest material had been corrupted slowly, that in him the sweet suffering in which both of them were living had been annihilated." This revelation pushes Virginia out of childhood and into an adulthood that she must construct wholly on her own.
Virginia is thrust into the city at the end of the book's first third, we see her in and out of consciousness and ruminating on her brother's absence. We read that Daniel has moved out of the apartment he was supposed to share with Virginia. He has moved on socially, while Virginia is wracked by loneliness and forced to confront herself and her own ideas rather than conforming to those of her brother. It is at the crux that the book's title comes to the fore, alluding to a chandelier in Virginia's childhood home that she compares to a spider. "She would look at it immobile, uneasy, seeming to foresee a terrible life. That icy existence." The image's profundity is in how it suggests the dangers of her inaction just as much as the importance of pursuing her potential. This dramatic shift in location holds no such importance in Near to the Wild Heart; as such, the second novel's emphasis on changing locales and changing mental states for Virginia seems to be a direct consequence of Clarice's new life in Naples and in isolation from her family, friends, and the only country she knew. In addition to her brother, Virginia's love interest also serves as a major locus of interior anxiety and stress, with an added dash of that existential threat mentioned earlier, but much of this comes out in the second half of the novel.
The Chandelier emphasizes the act of creation as a way to scrutinize the true extent of one's independence. Virginia constantly questions whether she is simply the product of others' words and actions, or if she shapes and builds her own self and destiny. "Would seeing the truth be different from inventing the truth?" Virginia asks herself during the basement sequence while fantasizing about freedom from the circumstances of existence everyone is impacted by. Virginia describes herself at various moments as changed by Daniel or her boyfriend Vicente's words, even as she wonders where she fits into the universe. Language plays an integral part in Lispector's early novels as they show a break with the more traditional narrative structures of her early stories. Benjamin Moser and Magdalena Edwards' shrewd, supple translation of The Chandelier showcases the brilliance of Lispector's singular style and astutely unfurls the longer, more complex sentences that the author had come to use as a fundamental unit of composition. Whereas Alison Entrekin's translation of Near to the Wild Heart showed a Clarice Lispector unafraid to thrust readers inside the mind of Joana, the style of The Chandelier depicts a richer and more complicated space within Virginia's mind. Many critics have noted the kinship between Lispector and Joyce (whose Portrait of the Artist as a Young Man provided Lispector with the phrase "near to the wild heart"), a kinship that goes deeper than the stream-of-consciousness techniques they both deploy adroitly. The Joycean tumble so many scholars mention in describing the inkwell-drying sentences he employed in Ulysses find an analogue in Virginia's ever-meandering, sometimes Molly-Bloom-esque consciousness. Both writers embrace the mind's chaos, but Lispector does not force the reader to deduce where Virginia is thinking her thoughts and how that might relate to The Chandelier as a whole. This sharp divide between the physical occurrences of the observable world and the characters' minds in Joyce and his contemporaries does not exist for Lispector. Almost all of the action occurs through Virginia's perspective, making for a soft yet interesting distinction in Lispector's position among aesthetic movements.
A mystical or metaphysical level within Lispector's scenes is established by the particular vocabulary she draws on. The words of Virginia's inner world and her racing examinations exist in tandem with the physical world's stark and unchanging realness. Her sense of the soul or a god not only lends itself to the attempts her protagonists—especially Virginia—make to understand their reality, but it further adds weight to the particular narrative the human mind imposes upon its own life. This radical ignorance carries Virginia through The Chandelier until she slowly realizes her ability to self-actualize and to impose meaning upon her world. This mysticism also hints toward a larger understanding that Lispector's characters tend to reach for, an understanding that would reach its acme in Lispector's final novel, Água Viva. Already, in this early novel, the first page of The Chandelier lays out a core tenet of Virginia's search for her identity that will interrupt her relationships and drive her into herself for the rest of the novel:
What had dominated her shapes and attracted them toward a center, what had illuminated her against the world and given her intimate power was the secret. She would never know how to think of it in clear terms afraid to invade and dissolve its image…it sustained her in its unsolvable vagueness like the single reality that for her should always be the lost one.
This journey differs greatly from high modernist novels that seem to undermine the entire project of achieving a complete understanding of anything. Virginia's quest may be a difficult and perhaps doomed one, and it is for exactly that reason that Clarice's work seems so audacious even now: she has written a three-hundred-page novel that does not simply laugh off her questing protagonist. This decisive break with Modernism's tenets, this its rejection of an axiomatic and binary view of the world, sets Lispector closer to a kind of post-modern aesthetic.
Joana and Virginia in her first two novels are not inhuman, but they are especially interested in metaphysical and philosophical questions about existence as opposed to the games, relationships, or activities that most often occupy children. These real-world components are, of course, necessary to Lispector's work of plumbing the various questions both young women are contemplating, but an undeniable otherworldliness still permeates them both. Both are loners, and while Joana at least comes off as much better actualized and by most measures confident in herself, Virginia is a mess. The alienation and near scorn she endures later on in The Chandelier after perhaps the most humane and charming scenes with her lover Vicente dramatically build her into a person rather than a philosophical sounding board, but this does not occur until the book's final hundred pages. After an especially auspicious evening, where Virginia describes her and Vicente laughing and enjoying each other's company and Vicente tells her he loves her, the rest of the evening and the rest of the telling thereof takes on an abrupt chill as Vicente immediately "realized imperceptibly that he didn't love her, that he'd loved her maybe precisely before saying: I love you." Near to the Wild Heart's Joana possesses some of the same qualities, but because the narrative works hard to portray her as an oddball from a young age who is forced to go through difficult life changes this volte-face does not appear as jarring as the one in The Chandelier does. Lispector's extraordinary use of language and stream of consciousness is, oddly enough, nowhere to be found in her early stories, nor is the languorous pace of The Chandelier presaged in the brisk, short chapters of Near to the Wild Heart. Lispector's second novel sets itself apart by pushing its readers to their limits, to the point of exhaustion, hinting at a second wind waiting for any readers who soldered onward. The many dynamic components of The Chandelier's language and Virginia's psyche coalesce into a constant philosophical self-reflection that unyokes Virginia from the physical realm; the work The Chandelier asks of its readers is to restore Virginia's essential humanity to her.
Lispector's books are sui generis, but to look at The Chandelier in light of her other writings is to see what pinnacles of perfection still lay in wait for her. The power of Lispector's heavily textured sentences and Virginia's unbridled introspections and contemplations of who she wants to be cannot offset the fact that this three-hundred-page book would have benefited from being as economically edited as her more acclaimed works. Virginia's monotonous ruminations often blur together; her thoughts and struggles can be profound and beautiful, but so many pages of the same rolling waves of dreamy sentences can sap even the hardiest reader's will to dig into the work. This novel is perfect for those who already revere Lispector and want a further understanding of where her thoughts and aesthetic went after Near to the Wild Heart. Lispector's future works would maintain a better balance of psychological engagement and philosophical questions while taking better care to facilitate and encourage the reader. Brevity would become a hallmark of her style; the only other large book she later wrote was The Apple in the Dark (1961). All the rest of her later works would be compressed into tighter narratives with more distinct scenes and questions rather than a sprawling concept. The Chandelier seems to wander further into the human mind than any of Lispector's other books, and despite its weaknesses, I think The Chandelier will reward those who enjoy challenging works about the power of the mind and about how we might grow up—without destroying who we have been, without fearing who we might come to be.
Nick Oxford is a former English major trying to write something important. He also spends far too much of his free time tracking down and drinking beer.
tagged with Clarice Lispector, The Chandelier, Benjamin Moser, Magdalena Edwards, New Directions, Nick Oxford