text:
COMING OF AGE: LATE STYLE AND THE FRENCH NEW WAVE
Eric Rohmer, Les Amours d'Astrée et de Céladon (The Romance of Astrea and Celadon), 2007, still from a color film in 35 mm, 109 minutes. Léonide (Cécile Cassel) and Céladon (Andy Gillet).
In the history of art, late works are the catastrophes.
The lucky ones are the defeated.
—from Jean-Luc Godard's Notre Musique (2004)
THE FIFTIETH ANNIVERSARY of the French New Wave in 2009 proved to be both milestone and death knell. Eric Rohmer and Claude Chabrol subsequently passed away, Jacques Rivette made his final film, and, from his sanctuary in Rolle, Switzerland, Jean-Luc Godard announced his ultimate project, Film Socialisme (2010), before disposing of the visual matériel he had spent decades hoarding for his montage essays. (The fifth member of the Nouvelle Vague, François Truffaut, died of a brain tumor in 1984.) In the transformation of these filmmakers over half a century, from young and seditious cinéastes maudits to éminences grises, what became of the New Wave's maverick nature, of the innovations and insurgence that impelled its origin? In Godard's abiding concern with money and memory, the cash nexus and cultural tradition, a strong continuity exists between his early classics and his most recent work, just as Chabrol's acerbic view of humanity, Rohmer's loquacious sense of the moral consequences of desire, and Rivette's claustral rendering of entrapment and amour fou persist in their late films. However, one also detects in certain of their final works ingratiation and willed amiability, allegory as the mode of conscious valediction, a senescent striving for simplicity and distillation. Measured by the rigorous standards of Adorno and his exegete Edward Said,* the late style of the Nouvelle Vague reveals itself not as the intransigent, oppositional, and exiled approach the two theorists proffer as their ideal of contrarian lateness, but as a reiteration of often conservative vision, sometimes bracing and vigorous, as in Rohmer's final works, sometimes happily flaccid, as in the late mysteries of Chabrol. Facing mortality, only Godard remains "not reconciled," his works rife with irresolvable contradiction and discontinuity, a conscious "going against," as Said characterizes the nature of lateness-as-rejection.
In his posthumous collection On Late Style: Music and Literature Against the Grain (2007), Said employs Adorno's thorny writings on Spätstil to explore the final works of several writers, composers, poets, and musicians, contrasting the "unearthly serenity" of those artists whose late works "crown a lifetime of aesthetic endeavor"—Said cites Sophocles, Matisse, Bach, Shakespeare, and Rembrandt—with the "nonharmonious, nonserene" artists given to untimeliness, fragmentation, and rupture, who refuse resolution, create anxiety, and indulge in anomaly, such as Genet, Lampedusa, and, following Adorno's primary example, Beethoven. Immensely rewarding, troubling in ways small (Said misconstrues Visconti's cinema, for instance) and substantial (his thematic anachronistically imposes lateness on a prematurely dead Mozart), the collection does not provide a coherent definition of late style, probably because one is not possible. Like the disobliging Adorno he so admires, Said appreciates incongruity and paradox, qualities that resist totalizing descriptions. (The fractured "lost totality" of late Beethoven awes Adorno, negativity replacing unity as his standard of aesthetic worth.)
"The caesuras," Adorno writes, "the sudden discontinuities that more than anything else characterize the very late Beethoven, are those moments of breaking away; the work is silent at the instant when it is left behind, and turns its emptiness outward." Near the end of his new feature, Film Socialisme, Godard appears to echo the Frankfurt philosopher: "Even more significant than the profound structures of life," intones the narrator, "are the points where they break, their brusque or long deterioration." Both Adorno and Godard prize the irregular and estranged. If one finds in the last films of Rohmer, Chabrol, and Rivette recapitulation and humility, a form of the "return and repose" Said discovers in Richard Strauss's retrospective late operas, Godard offers no such ease. Both maker and connoisseur of "catastrophes," he instead resembles Adorno's lamenting Beethoven, "bristling, difficult, and unyielding," in Said's appraisal.
"THE MATURITY of the late works," Adorno insists, "does not resemble the kind one finds in fruit. They are . . . not round, but furrowed, even ravaged. Devoid of sweetness, bitter and spiny, they do not surrender themselves to mere delectation." Not so the insubstantial final works of Claude Chabrol, which invite delight but don't always deliver. To extend (and belabor) Adorno's fruit metaphor—oddly appropriate for the epicurean Chabrol—the French auteur's films are not just round, they're plump, oozing pleasant nectar instead of the director's once customary caustic. If any of the Nouvelle Vague directors achieved serenity at the end, it was Chabrol, but at considerable cost to his art.
Jacques Rivette, 36 Vues du Pic Saint Loup (Around a Small Mountain), 2009, still from a color film in 35 mm, 84 minutes. Kate (Jane Birkin) and Vittorio (Sergio Castellitto).
In Chabrol's late phase, the Modigliani features of his former wife and lead actress Stéphane Audran—almond eyes, high, attenuated cheekbones, sphinx-like expression—were replaced by an equally opaque face: that of Isabelle Huppert, who brought her formidable froideur to more than half a dozen of the director's films, from Violette Nozière (1978) through Comedy of Power (2006). But the chill formal elegance and visual precision that Audran's chic once served in such films as Les Biches (1968) and La Femme infidèle (1969) all but disappear in Chabrol's final decade. Especially after La Cérémonie (1995), his last great film, Huppert is often set adrift in feckless tales of mayhem. Chabrol, nasty mannerist celebrated for his pitiless insight, succumbed in his latter years to congeniality; once the Jonathan Swift of the Nouvelle Vague, he became its Agatha Christie. His cinema remained rife with obsession and murder—by drug-laced nightcap, Murano glass dagger, booby-trapped car—but his baleful vision slackened into a largely convivial one, his formal stealth into the padded and haphazard. Given that his films were made en famille, with Thomas, Mathieu, and Aurore Chabrol involved, respectively, as actor, composer, and scriptwriter, it sometimes seemed as if the director's blithe prolificacy were a pretext for the famous alfresco meals he enjoyed with kin and crew.
Deception and doubles, intertwined themes in Chabrol's early cinema, return to haunt his last film, Inspector Bellamy (2009), which, though low-key and disarming, retains the structural elegance of his geometric works from the '60s and '70s and a Langian sense of proliferating conspiracy. Gérard Depardieu, his bulk stuffed into a gray sweater like a big boudin blanc, stars as a police chief from Paris on holiday with his wife in Provence. "Felicity" is the first word out of his mouth and the first uttered in the film, but most of what follows involves misfortune. A mystery man turns up at the door, drawing Bellamy into a case of mistaken identity and murder. Perhaps worse, his half brother, the boozing, dissolute Jacques, also suddenly appears, complaining about the Tchaikovsky his cab driver insists on playing, the prodigal returning to fill Bellamy with old bitterness about his alcoholic father and with suspicion that his (Bellamy's) adored wife, Françoise, may be susceptible to another man's charms.
Though little more than a pleasant divertissement—a louche lawyer with a vole-like mustache entertains a courtroom by delivering his defense as a Georges Brassens chanson—Bellamy at times comes off as one last blast of classic Chabrol. The old master casts an ironic eye on the constrictions of class and family, mordantly explores sexual and moral hypocrisy, implies a transference of guilt between policeman and criminal, and portrays life as a series of small pleasures, mostly sexual and gustatory, and inevitable betrayals. Despite its zoom-ridden televisual style, Bellamy harks back to early Chabrol in what Godard might have called the film's "fatal symmetries," opening and closing with a car wreck by the sea, the accidents explicitly rhymed, as are many characters and incidents in the film. Doubles and doppelgängers abound, emphatically placed to balance and contrast with each other; among them is the local top cop, whom we never see but who is Bellamy's shadow. Auden's counsel "There is always another story, there is more than meets the eye" provides the last word at film's end, inscribing Chabrol's long-held notion that most mysteries, especially those of existence, remain unsolved, the world ever inscrutable.
UNLIKE CHABROL'S FINAL WORKS, the last three films of Eric Rohmer, sage of the New Wave, retain the master's trademark rigor and at first glance appear to embody the notions of exile and untimeliness that for Adorno characterize late style. They are all historical works, set at varying distances from the present (the French Revolution, World War II, and fifth-century Gaul) by a director whose subject was almost exclusively contemporary romance, and all involve some form of exile: a Scottish woman living in France (The Lady and the Duke [2001]), a Russian soldier and his Greek wife, refugees in Paris (Triple Agent [2004]), and a young shepherd banished from the world of his loved one (The Romance of Astrea and Celadon [2007]). However, Adorno's sense of untimeliness and exile is Nietzschean, having more to do with love of the future and exclusion, "permanent renunciation"—of society and class, of an artist's former accommodations, and of the present—a severity that this trio of odd but obliging films certainly does not reflect. Seeming to be "out of joint" with Rohmer's previous cinema, they instead reveal themselves to be vigorous restatements of his core beliefs, an intensification of his conservative vision, even as they take considerable aesthetic risks. All three turn out to be "moral tales" about the nature of fidelity, the testing of trust and faithfulness, and the chaos that ensues from their absence.
Claude Chabrol, Les Biches (Bad Girls), 1968, still from a color film in 35 mm, 100 minutes. Why (Jacqueline Sassard) and Frédérique (Stéphane Audran).
After two largely interior films peopled with mature characters, Rohmer returned in his last film, The Romance of Astrea and Celadon, to his long-favored world of lithesome youths and sun-flooded landscapes, and to the narrative template of his earliest cycle, the "Six Moral Tales," in which a man who is betrothed, married, or otherwise committed finds himself tempted by another woman, usually more alluring or dangerous (and darker) than the first. In Roman Gaul, shepherd Celadon finds himself banished by his fiancée, the blond Astrea, after she spies him consorting with another, duskier lass. (Amorous misperception is central to Rohmer's cinema; Astrea and Celadon looks back to the romantic imbroglio of Pauline at the Beach [1983].) After being rescued from a suicide attempt by drowning, Celadon recuperates in the loving care of three nymphs. In a series of Shakespearean twists, he ends up disguised as a young woman, his resemblance to Astrea's former and presumed dead lover a turn-on for the grieving shepherdess, who eagerly makes out with this strangely attractive girl (the first instance of cross-dressing in Rohmer's films, if one doesn't count masculine Chloé in L'Amour, l'après-midi [Love in the Afternoon, 1972], and perhaps the first full-on broaching of homosexuality). The androgynous Celadon—"His girlish face took everyone in," says an approving druid—with his Botticelli mane and cleft chin, provides one last example of Rohmer's taste for odd physiognomy, evident in the smiling wife of L'Amour, who could model for John Currin.
Set in a zephyr-cooled arcadia of "wild poetry and bucolic charm," in which nymphs, druids, and troubadours disport in a landscape of leafy bowers and glades, Astrea and Celadon was indulged by many critics as the barmy lark of an old man, void of the director's customary moral rigor. Much the opposite is true. Rationalist to the very end, Rohmer employs his radiant tale to deliver stern lessons about the nature of love, the rewards of virtue and moderation, and, as in his previous two films, the importance of duty, loyalty, and faith. The pure, holy Lycidas, voice of reason and morality, argues that love is not carnal but spiritual—"The body is only an instrument"—its infinite power merging lover and beloved, in contrast to the hedonistic Hylas and self-serving Galatea, who represent fickleness and infidelity. In their free-loving ways, suggests Rohmer, lies chaos of every kind. The irritating Hylas, a mop-haired signifier of caprice and inconstancy, whose capering ensures that one rejects his every word, refuses to treat a sacred grove with respect, and he is the only pilgrim who won't enter its hallowed sanctum. Like the rootless seducers in early Rohmer (Maud, Chloé, Henri), Hylas ends an outcast, his rejection of commitment an invitation to abandonment, by his peers and by God.
Though the gamboling rustics often suggest Boucher's berger pastorals, Poussin is more Rohmer's painterly model, especially in the classicist's moral seriousness and his determination to find continuity between the ancient world and his own faith. In Astrea and Celadon, the Catholic, some say Jansenist, Rohmer appears intent on forging and emphasizing parallels between the Celtic beliefs of his long-ago Gauls and those of his religion, including last rites, the soul's eternal life, and the Holy Trinity. Perhaps, even as the closing lines of his ultimate film instruct us to "Live! Live! Live!," Rohmer intuited the imminence of the great beyond, and so made his final statement a heavenward invocation, one last Pascalian wager.
"DEATH IS IMPOSED ON CREATED BEINGS, not on works of art," Adorno writes, "and thus it has appeared in art only in a refracted mode, as allegory." Jacques Rivette's final film, Around a Small Mountain (2009), refracts death as a series of finalities. How best to say farewell—with the expectant à plus tard or the more conclusive adieu?—becomes an issue in this clearly valedictory work, suggesting the director's acknowledgment that the film takes leave of his art, his audience, the world. "We're the last classics," a clown pronounces in another such indication, his pocket-size circus traveling through mountain villages on a farewell tour. In this allegory of mortality, the end is always in sight.
A mere slip compared with the protracted works for which Rivette is best known, the eighty-four-minute Mountain restates his defining themes—the exchange between life and theater, the inescapability of the past, the processes of art—modestly, intimately. (The film exhibits the "recapitulatory and even backward-looking and abstracted quality" that Said detects in late Strauss.) Scaled small like the circus that is its setting and central metaphor, shot in slow pans and dollies, mostly in long takes (there are fewer than one hundred shots in the entire film), Mountain has an unassuming air, even as it battens on the torment of a woman who accidentally killed her lover in a razor-whip act fifteen years before. Kate, played with gawky exasperation by Jane Birkin, is saved from herself by an outsider, the Italian bon vivant Vittorio, who first fixes her car and then repairs her psyche. Taking boyish pleasure in the circus's unfunny, neo-Beckettian clown act (shot in lengthy fixed takes like canned theater), imposing a glass of wine on teetotaler Kate, passing through in a sports coupe on his way from one sunny clime (Italy) to another (Catalonia), the Italian is an impresario of nothing but happiness. (He appears to be a businessman, but commerce, like heaven, can wait.) A lover of movement, chance, new things, the suave and extroverted Vittorio seems conceived as the nervous, reclusive Rivette's opposite and alter ego, and it is he who helps orchestrate both Kate's exorcism, which releases her from a lifetime of grief, and the film's finale, a Handelian round of new and severed alliances, of forgiveness and reluctant departure. Liberated from the conspiratorial and obsessive mode of his former cinema, Rivette hangs a full moon between two mountain peaks, shining in lunar benediction on the foolish mortals below, and allows a clown to declare, "All's well that ends well"—a statement inconceivable in the director's previously cryptic cinema.
Eric Rohmer, L'Anglaise et le duc (The Lady and the Duke), 2001, still from a color video transferred to 35-mm film, 129 minutes. Grace Elliott (Lucy Russell).
Rumors of Rivette's debility swirled about Mountain's making, his decline reportedly accounting for the film's slim duration, loose ends, and simple, forthright manner. One thinks of de Kooning's glorious late paintings, in which density and slather give way to spacious, skeinlike forms and harmonious palette, his early style readily apparent but opened up and airily undone. The danger in mistaking senescence for evanescence, abatement for the "senile sublime," remains great, however, and Around a Small Mountain relinquishes a great deal to arrive at its small, beneficent meaning.
WHILE THE FINAL FILMS of Rivette, Chabrol, and Rohmer deal variously with community and the granting of clemency, Jean-Luc Godard remains to the end alone and unforgiving. He is a "lamenting personality," the term Said uses to characterize Adorno's depiction of Beethoven in his late string quartets—music much loved by Godard, a director increasingly prone to requiems and memorials, to the elegiac mode, as the title of the film that launched his late period, Éloge de l'amour (In Praise of Love, 2001), suggests. A threnody for a world of art, politics, and philosophy that has been colonized and subdued by international capital, and a screed against a state within which resistance is impossible and everything is for sale, even history and the individual gaze, Éloge summons a sense of suicidal futility that accords with Godard's long-held feeling of abandonment and mortality, apparent in the "left for dead" dénouement of Sauve qui peut (la vie) (Every Man for Himself, 1980) and in the photograph of the filmmaker as a child "already in mourning for myself" in his autoportrait, JLG/JLG (1994). Berthe, the despairing heroine of Éloge, cannot escape memory—historical (the Resistance, the Holocaust) or personal (her role in a corrupt Hollywood deal)—and kills herself. "The image," she tells us, "alone capable of denying nothingness, is also the gaze of nothingness on us." That "gaze of nothingness" falls on all in late Godard, the regard of impending death.
Rupture and interruption, what Adorno called "tears and fissures," characterized Godard's aesthetic from early on, and one might argue that his late films in fact manifest a growing concern with continuity and structure. Each of his last three works—Éloge, Notre Musique (2004), Film Socialisme—is organized as a diptych (the first) or a triptych (the latter two), and taken together, they form a trio, an updating of Rossellini's war trilogy, perhaps, given that all three deal with the actuality or aftermath of battle (World War II; the Bosnian war; World War II again, plus the Israeli-Palestinian conflict). Each film can also be ascribed a governing art: painting in Éloge, literature in Musique, and photography in Socialisme. The neatness of this schema suggests a late mania for order, especially after the torrential montage of Godard's magnum opus, the Histoire(s) du cinéma (1988–98), but within these regulating forms the director's irrepressible sensibility remains unconstrained: The legendary magpie, collagist, hoarder, montagist, lives supremely in every teeming frame and disorienting edit.
If the toxic shimmy of the digital image in the second half of Éloge de l'amour seemed to indicate what the director thinks of DV's diminishment of the world, the completely digital Film Socialisme dismisses any such suspicion. Shot by the director and three other cinematographers, Godard's latest (and reportedly last) film employs every possible register of digital imaging, from garishly raw cell-phone footage, a blizzard of disintegrating pixels accompanied by splintering sound, to immaculate high definition, which allows miracles of single-source natural lighting in interiors and precise, saturated compositions outdoors. Coming so far for beauty, Godard indulges in outrageously lovely images (the inky glitter of moonlit sea; a woman standing against a white wall, haloed by the ghostly spokes of a windmill's shadow; a molten close-up of the wheels and gears of an ancient watch) and riotous color effects (a ship deck pulsating in a blaze of harvest gold and electric blue; lemon-lime Agrola gas pumps in Fauvist contention with cherry-red vehicles parked nearby; a shipboard elevator flooded in brackish algae-green light). In the Godardian struggle between word and image, pictures inevitably win out, no matter how dismal their delivery system.
Film Socialisme is structured in three parts: "Des Choses comme ça," set on a cruise ship on the Mediterranean; "Quo Vadis Europa," at a family-owned gas station in the South of France; and finally "Nos Humanités," in a transglobal assortment of cities. The middle section, which served as the film's genesis, differs markedly from the flanking ones in its cohesion and concentration, its lengthy, fixed shots, and its tone of tender domesticity, the pulverized dance music of the onboard discotheque in part 1 replaced by Beethoven at his most benedictory (the andante of his Sixth Symphony and the largo of his Second Piano Sonata). Though more loosely connected than the three Dantean chapters of Notre Musique, Socialisme's triptych develops many motivic or thematic through lines: the exploitation and abandonment of Africa and the end of poor, unhappy Europe; cameras, primitive to digital, daguerrotype to camcorder, and the undependable images they produce; gold (as name, watch, lucre, silence, necklace, teeth); the futility of political action and the lost ideals of the French Resistance; the wisdom of children and animals, neither of whom have any rights. (The film offers an enchanting menagerie, from the precredit image of a pair of scarlet parrots to the unkempt llama and Balthazar-like donkey tethered at the gas station, the burro carrying a television on its back somewhere in the Middle East, the biblical lamb and inquisitive owl of Minerva, and, most memorably, the two YouTube cats performing a karaoke duet that get transformed into Egyptian statuary.) Godard has said that notions of property provided Socialisme's inception—"Money is a common good, like water," maintains the film's first line—and theft of various sorts becomes its most insistent motif: the embezzlement of Spanish gold and nonpayment of rights to the Arabs for their invention of money in part 1, Lucien's stealing of the black camerawoman's hat and of a Renoir image in part 2, Israel's annexation of Palestinian sites and the purloining of images from other films in part 3. Godard's brazen disregard for copyright niceties has landed him in trouble in the past, and he finishes the film by condemning the Hadopi agency, which regulates French Internet access and copyright, quoting Pascal to assert his right to thieve freely: "If the law is unjust, justice proceeds past the law."
Jean-Luc Godard, Sauve qui peut (la vie) (Every Man for Himself), 1980, still from a color film in 35 mm, 87 minutes. Paul Godard (Jacques Dutronc).
The director circulates objects, phrases, and images throughout the three parts, pairing characters (the wise boys Ludovic and Lucien), reiterating items (gold-doubloon jewelry) and settings (Haifa, Naples, Barcelona, Odessa) and revisiting incidents (e.g., the taking of the first photograph of Palestine in 1839). In each of the sections, the feminine gender of one word is emphasized: respectively, la géométrie, la presidence, and l'escalier (as in the Odessa Steps of Battleship Potemkin fame), the sense of reason and power, order and governance associated with the first two canceled by the cataclysmic imagery of women's suffering attached to the third. (Godard powerfully reedits and scores Eisenstein's footage to his purpose.) One might also infer that, consciously or not, the film's tripartite structure represents, in the manner of Hou Hsiao-hsien's Three Times (2005), three periods or modes of the director's cinema: the enclosed group portraits of First Name: Carmen (1983) and Détective (1985), the domestic world of women and children in the epic video works Godard made with Anne-Marie Miéville in the '70s, and his recent montage essay films.
Godard has always had a puritanical streak, and he makes easy targets of the cruise ship's vacationers and retraités (retirees on holiday, all real-life "extras" in the film), who prefer dancercising, gambling, swimming, boozing, buffet stuffing, anything, to a lecture on Husserl and ancient geometry by philosopher Alain Badiou, which Godard inserted into their activity schedule and which no one attended. (He exaggerates the lecture hall's vast emptiness with a high-angle shot.) The boat is both a ship of fools and the last ark, its pleasure seekers heading to hell even as they take communion from a priest in the luridly lit casino. (In one dizzying image out of Dante at the end of part 1, Godard sets them on a double-helixed stairway circling ever downward, a descent in preparation for the hellish steps of Odessa in part 3.) Around these antics, sometimes shot in stop- or slurred motion, Godard sets a fragmented tale about an old French policeman and a young Russian woman investigating the disappearance of part of a transfer of gold from a bank in Barcelona to the Soviet Comintern after the Nazi invasion of France. If that sounds convoluted, it is, especially when Godard doles out the narrative shards to almost a dozen mostly unnamed characters who speak various languages. Several of the cities they mention in their account of the lost money return in the film's final third, a dense essay that refashions a mythic originating text of the Nouvelle Vague, Jean-Daniel Pollet's 1963 film Mediterranée, and whose ports of call were chosen, Godard says, for their importance in his own life but also, one infers, to emphasize the film's sense of political inutility and horror, marking locales of failed struggle and civil war. (One also notes Godard's emphasis in his montage on unfinished, cobbled, or traduced late works of favorite directors: John Ford's Cheyenne Autumn [1964], Orson Welles's Don Quixote [1992], Michelangelo Antonioni's Michelangelo Eye to Eye [2004].)
Godard's governing concerns with the inadequacy of language and the struggle to show the invisible—"To tell is never enough. . . . The poor things have for themselves only the name that we impose on them"—are afforded new force by the often untranslated polyglot and the lack of wind protectors on microphones in part 1 (so that unshielded seaward gusts toss already arcane phrases into the blustery beyond) and by the film's infamous subtitles, presented in what Godard has dubbed "Navajo English." Having often inveighed against translation, insisting that anyone can learn French, as he did English, by watching movies, the director adds another impediment for the Anglophone with subtitles that reduce copious and often gnomic French and German dialogue to perversely truncated phrases and peculiar neologisms, so fascinating in their linguistic condensation that they draw attention away from the film's images. Language, innately unreliable for Godard, turns into both fixation and refusal: ACCESS DENIED, a text reads half an hour into the film, echoed by the film's final NO COMMENT, repeated twice for good measure.
In a work whose credits catalogue dozens of sources for the film's music, texts, and video clips, the welter can overwhelm. "What lies ahead is an impossible history," we are warned early on, and Film Socialisme indeed bears out Godard's recent admission to a German interviewer that "all the films I've made in recent years, one has to look at three times to understand." Try twelve. Every image and phrase recalls another, sometimes within the film—a sudden, almost subliminal detail from Grünewald's Mocking of Christ, for example, prepares for a discussion of German Renaissance painting ten minutes later and for the troubling reference to the avenging of Christ's death in part 3—but often from the director's previous work. Godard's quotation of the Fascist-turned-Communist writer Curzio Malaparte, to the effect that the Americans liberated Europe by making it dependent, invokes both Socialisme's motif of the rape of Naples and the director's decades-old Contempt (1963), whose final sequences are famously set in Malaparte's modernist casa on Capri. Godard can even be accused of self-reflexive product placement: The text ABII NE VIDEREM, emblazoned in the film's first section, implies "fleeing so as not to see" but also refers to a piece of music by Giya Kancheli on ECM, long Godard's "house label," a composition the director extensively employed in chapter 4a of his Histoire(s) du cinéma. The service station, place of dispute and death in early Godard, in Socialisme again becomes the site of struggle, between the news reporters and the Martin family, and between the politically paralyzed parents and their anarchistic children, who defend Balzac, French notions of brotherhood, and the necessity of using the verb "to have" in preference to "to be." With the film's sole zoom shot, Godard italicizes Illusions perdues, the Balzac novel the Martin daughter reads as she desultorily tends the gas pumps, telling some German tourists to "invade another country" when they demand directions to the Côte d'Azur. The name of the novel's protagonist, Lucien, is also bestowed on the vital, politically astute ten-year-old Martin son, whose close relationship with his mother—he blindly inspects her body as if by braille as she washes the dishes and listens to Beethoven—looks back to that of Juliette and her blond son, who dreams of the reunification of North and South Vietnam in 2 or 3 Things I Know About Her (1967). (Like Lucien, his mama cannot resist conducting music, her hand unconsciously gesturing in time with the Beethoven as she talks politics with her daughter in the bathroom.)
Jean-Luc Godard, Film Socialisme, 2010, still from a color video transferred to 35-mm film, 101 minutes. Lucien Martin (Quentin Grosset) and mother (Catherine Tanvier).
Godard's penchant for rhetorical dualities—sometimes oppositional (myth and history, light and darkness, the individual and the law, photography and painting), sometimes dialectical (a girl's voice chanting the Talmud is followed by one chanting the Koran; a Hebrew text in red is laid over an Arabic one in white; gold is associated with both Jewish and Islamic cultures, and so on)—returns in Film Socialisme. The latter conflations express the kind of reconciliation the Israeli journalist Judith Lerner searches for in Notre Musique, whose possibility, Godard has suggested, is embodied in the sequence, lifted from an Agnès Varda film, of trapeze artists practicing by the sea. "If the Israelis and Palestinians started a circus and performed a trapeze show together," Godard told critic Serge Kaganski, "things would be different in the Middle East." (The Rivette of Around a Small Mountain might agree.) Perhaps Godard's brief insertion of a severely cropped image from Botticelli's Calumny of Apelles can then be read as oblique commentary on the accusations of anti-Semitism frequently laid against the director, given the painting's elaborate tableau of deceit and slander. Godard shows not the turmoil of defamation that dominates Botticelli's panel, concentrating instead on the extreme left side of the composition, where a black-robed Penitence stares at nude Truth, whose eyes are directed toward heaven, away from the fray of obloquy. If Godard's allegorical intentions remain obscure, the The Calumny of Apelles is another of Socialisme's invocations of Greek antiquity and another of the film's citations of late or last works, in that Botticelli thereafter abandoned classical subject matter under the influence of firebrand evangelist Savonarola.
"We're facing a kind of zero," someone says at the beginning of Film Socialisme, a declaration that returns transmogrified twelve minutes later: "So, we're back to zero, my friend." Stated as a farewell to narrative in Le Gai Savoir (1969), the desire to return to zero has long been Godard's obsession, and in the end he succeeded, turning emptiness outward, as Adorno had enjoined. "I have once encountered nothingness, and it is much more immense than one tends to believe." This Sartrean statement, repeated twice in Socialisme's first half hour, captures the desolate tone of the artist who late in the day still finds the hell and the hélas in Hellas, the roots of our devastation in ancient civilization. "Nonharmonious, nonserene" in his inconsolable lateness, Godard condensed his Histoire(s) du cinema into a primer whose title, Moments choisis (2004), promises "just the high points" but whose redaction in fact excises all the joy and juice of the larger work, in particular the surging paean to Italian Neorealism. Similarly, when Eric Rohmer died, Godard released a video commemoration (dated July 20, 2009, half a year before Rohmer's expiry, suggesting premature preparation) that sifts through the wreckage of the directors' common past: abandoned and forgotten films, old haunts, former friends, actors, politicians, and screenwriters whose names are mostly unremarked or unremembered except by their ever-diminishing group. (As Godard had mournfully quipped in the Histoire[s], "They were my friends.") The director, murmuring and mumbling as if words have lost all agency, quotes from the ending of Flaubert's Sentimental Education—"That was the happiest time we ever had"—to salute the distant and retreating era of the Nouvelle Vague, all gladness gone except in an old man's memory. Godard previously expressed cautious optimism: "You should take comfort in these lines from Cioran: 'We are all jokers: We will survive our problems.'" The catastrophe of Film Socialisme warns us otherwise.
James Quandt is Senior Programmer at TIFF Cinematheque in Toronto.
*All quotations of Said have been taken from Edward W. Said, On Late Style: Music and Literature Against the Grain (New York: Pantheon, 2006); all quotations of Adorno are from his seminal essay Late Style in Beethoven (1937), as quoted by Said.


With a digital adoption of automated under writing process and real time processing of new business, Aviva is carving a niche market segment focused on digital savvy customers.
During 2015-16, at least 30 percent of India's vast population (approximately 36 crore) was covered under health insurance, reports IBEF. The insurance industry of the country is expected to grow four times its current size in the next decade.
It is then of little surprise that insurance providers are seizing this opportunity to gain a sizeable chunk of the market, and going an extra mile when doing so. "India is the 'heart disease capital' of the world and health is the biggest opportunity right now for Aviva India," says Manish Mimani, VP and head-IT of Aviva Life Insurance Company India.
Driven by new technologies and changing patterns in consumer behavior, Aviva India decided to change its business model with a focus on being 'digital first'. The company designed a new heart care product to reach out and acquire a whole new set of customers. Aviva Heart Care was launched across Aviva's digital channels including social media, the company's online policy selling website Instalife, its customer portal and mobile app.
Further, a new heart age calculator micro site was launched to engage with prospective customers. "Using the whole arena of digital asset, we have successfully enhanced the customer experience through seamless online buying experience and automated end to end process," says Mimani.
This product is one of the digital initiatives where a new business process was automated by integrating the online platform with an artificial intelligence (AI) and machine learning based auto underwriting system. It is the first implementation of its kind in India's life insurance sector.
The technology has enabled the business to gain competitive advantage with reduced turnaround time in issuance of policy, which is major achievement in this industry.
With the help of this product, Aviva effectively enhanced its customer experience with its online platform where the customer receives the acknowledgment on a real time basis with the delivery of a physical policy kit within near to real time. Additionally, a real time integration has been setup between the online platform, policy admin system, business workflow and auto underwriting tool in order to ensure seamless data flow.
The entire process is completely automated from end-to-end process without any manual intervention adhering to defined business rule set configured in system. The product is enabling Aviva to carve a niche market segment which is focused on digital savvy customers.
Within the first six months of the launch of the product, it contributed to an increase of 10 percent of new business volume, and the company experienced an enhanced operational efficiency due to the adoption of AI-based underwriting process.
"Aviva Heart Care is a niche opportunity to reach out to acquire a whole new set of customers and we are truly adopting the 'Digital First' mantra to enhance our customer experience," adds Mimani.


text:
Q: Unable to set Title of UIButton I am new to iPhone,
    xpos=30;
    ypos=40;

for(int i=0;i<[MyArray count];i++)
        {
            if(i!=0)
            {
                if (i%4==0)
                {
                    ypos+=180;
                    xpos=30;
                }
                else
                {
                    xpos+=200;
                }
            }

            button = [UIButton buttonWithType:UIButtonTypeCustom];
            button.frame = CGRectMake(xpos, ypos, 110.0, 130.0);
            [button setImage: [UIImage imageNamed:@"ibook2.png"] forState:UIControlStateNormal];
            [button setTitleEdgeInsets:UIEdgeInsetsMake(ypos, xpos, 0.0, 0.0)];
            [button setTitle:[NSString stringWithFormat:@"%@", [MyArray objectAtIndex:i]] forState:UIControlStateNormal];
            [button setTitleColor:[UIColor redColor] forState:UIControlStateNormal];
            [self.view addSubview:button];
}

i am able to see button but unable to see my text on the UIButton.
Any help will be appreciated.

A: Please set buttons background image.You have set buttons image.
Please use this:
[button setBackgroundImage:[UIImage imageNamed:@"blue_button.png"]
                            forState:UIControlStateNormal];

For Wrapping button title User:
[button setTitle:@"Test button name 123" forState:UIControlStateNormal];

 button.titleLabel.numberOfLines=2;

 button.titleLabel.lineBreakMode = UILineBreakModeWordWrap;

A: You can't see the text because you have used setImage: function of button. At a time you can display image or button on text but you can add image as a background so you can see both image and tittle. In short set image as a background.
[btn setBackgroundImage:[UIImage imageNamed:@"imageName"] forState:UIControlStateNormal];

Please also remove the line of setting inset.

A: Rather then setting
[button setImage: [UIImage imageNamed:@"ibook2.png"] forState:UIControlStateNormal];   // This will not allow you to set Button title.

You have to use :
[button setBackgroundImage: [UIImage imageNamed:@"ibook2.png"] forState:UIControlStateNormal];    // This will allow you to set title along background button image.

A: if you image is too big then it will only show the image and text get truncated due to image as text will be visible after image, try using setBackground image or try small resolution image or setImageEdgeInsets .

redpajama_set_name: RedPajamaStackExchange


Question: My son is leaving for college in a couple weeks. Is there any specific legal planning he needs now that he is 18 years old?
Yes. Your son is now a "legal adult" under Michigan law. You can't make financial or medical decisions automatically for him anymore. Also, you can't access his financial accounts or medical records.
It takes just a little time and effort to put together a plan that will make life more convenient for both of you and will allow you to step in if there is an emergency. Every eighteen-year-old should have at least a basic financial power of attorney, a patient advocate designation (medical directive) and a HIPAA authorization (to allow access to medical information). We have a "College Planning Package" available if your son would like to get his legal affairs in order before he leaves for college. You can email me at [email protected] or call me at (517) 548-7400.
Glenn Matecun is a partner with the law firm of Matecun, Thomas & Olson in Howell. He is one of only 19 Certified Elder Law Attorneys in the State of Michigan and his law practice focuses on estate planning, elder law, asset protection and senior Veterans' benefits. Listen to Glenn on Senior Law Radio, WMUZ 103.5 FM, every Saturday from 8 a.m. to 9 a.m. Email questions to [email protected] or, if your question is urgent, call Glenn at (517) 548-7400. Visit us at www.MichiganEstatePlans.com to learn more. The information in this column is not intended as legal advice.


You can buy big bags of table salt for about 50p in most supermarkets. It's a good way to de-ice your decks – like gritters on roads, you can sprinkle it on the decks the night before and prevent them icing. It's better than rock salt, which is too gritty and could damage your decks.


text:
Maryland Divorce Lawyer Blog
Published By Anthony A. Fatemi, LLC
How the Factors that Courts Can Consider Resulted in Imputing an Income of $300K+ in One Maryland Husband's Alimony Case
by Anthony A. Fatemi, LLC
In many circumstances, a divorced spouse may experience a change in employment and, with it, a sizable change in income. When that happens, the law may allow a spouse who owes alimony to seek a modification of that alimony obligation. If, however, the supporting spouse has intentionally reduced or ended his earnings, the law allows the court to "impute income" to the supporting spouse, which means viewing his support obligations in light of the salary he was capable of earning, rather than what he actually took in. For one Montgomery County divorced couple, that rule meant imputing significant income to an ex-husband who, according to the courts, spent extravagantly on everything except making his alimony payments.
The case involved the prolonged Maryland divorce litigation of Dennis and Sheri, who divorced in 2010. Even after the final divorce decree, the couple continued to litigate financial issues. One of those issues was alimony. The original arrangement called for the husband to pay the wife $9,000 per month in alimony. At that time, the husband earned a salary bringing in several hundred thousand dollars per year.
A few years later, the husband asked the court to modify his alimony obligation. He argued that he had incurred a significant reduction in income and that this reduction necessitated a reduction in his alimony payments. The trial court ruled against the husband. Instead, the court agreed with the wife that the husband was voluntarily impoverished, and, based upon that voluntary impoverishment, the court was entitled to impute income, which it did to an amount in excess of $300,000. With the husband's imputed income standing at more than $300,000 per year, the husband lacked a sufficient change of circumstances needed to trigger a modification of his alimony obligation.
The husband appealed, but he still lost. The appeals court's opinion highlights that there are many things a trial court can consider when it comes to voluntary impoverishment and its interconnection with modification of alimony. The determination of whether a supporting spouse is entitled to a modification involves more facts than just the salary before the reduction and the salary afterward. In this couple's case, the trial court looked at the husband's overall array of spending habits and employment decisions in order to rule against him, which the law permits it to do.
The appeals court affirmed the trial court's conclusion that the husband "has made the clear and conscious choice to spend lavishly on everything but his alimony payments," noting that the trial court had extensive details in support of this determination. The husband rented a large five-bedroom house that only he and his girlfriend shared, at a rental cost of $4,950 per month. He paid rent on the girlfriend's townhouse, paid the housing, education, and vehicle costs of his 22-year-old daughter, and spent what the court described as "an extraordinary amount on leisure."
In addition, there was the husband's intentional decision to transition into a lower-paying job. He earned between $449,000 and $318,000 in 2012-14. He then left that job and made far less in his new job. In the new job, he had the opportunity to earn a bonus that would have paid him more than $200,000, but, in the court's view, he did not even attempt to pursue that bonus. All of these things added up to an adequate volume of proof to support the trial court's decision to impute income of more than $300,000 to the husband.
In alimony cases, there may be multiple different ways to secure the award you need. It may involve proving income. It may involve imputing income. Regardless of the particulars, it helps to have experienced counsel working on your behalf. Knowledgeable Maryland alimony attorney Anthony A. Fatemi has spent many years working on behalf of clients as they deal with their alimony and other family law issues. To find out how this office can assist you, contact us at 301-519-2801 or via our online form.
More blog posts:
Modification of Alimony in Maryland and When That Modification Can Apply Retroactively, Maryland Divorce Lawyer Blog, Aug. 17, 2017
Factors that Go Into a Decision to Impute Income in a Maryland Alimony Case, Maryland Divorce Lawyer Blog, June 24, 2016
Posted in: Alimony
Custody case law (34)
Visitation (23)
Alimony (20)
Division of Property (19)
Separation Agreements (18)
Case Summaries (14)
Maryland Criminal Lawyer Blog
'There is More to Parenting Than Being a Physical Presence': Deciding Custody Time and Schedules in Maryland
How the State of Maryland Distributes Your Alimony and Child Support if Your Wages Are Being Garnished
How the Right Argument or Evidence in Your Maryland Child Custody Case Can Still Be Wrong If It's Presented at the Wrong Time
Don't Put Your 'Head in the Sand" — Tackle Your Maryland Child Support Case Head On
Don't Let Your Past Litigation Errors Cause You to Give Up on Your Maryland Child Custody Case
18310 Montgomery Village Ave, #410
Washington DC Office
2200 Pennsylvania Ave NW, 4th Floor
East Washington, DC 20037
Tehran, Iran Office
No. 3 First Impasse,
North Shahid Mozafar Street, Enghelab Street
Copyright © 2014 – 2020, Anthony A. Fatemi, LLC

redpajama_set_name: RedPajamaCommonCrawl


Home What's on What future for democracy in Somaliland?
This public discussion focuses on the future of democracy in Somaliland, which has worked since its independence in 1961 to create a multi-party democracy. The result has been a complex asset of political arrangements, which incorporate various groups with different visions and interests. A first step in the development of democracy, was made on 28 November 2012, when Somalilanders were called to the polls to elect their local councillors under the reflectors of local and international observes. A report, published in April 2013 by Saferworld and the Somaliland Non State Actors Forum (SONSAF), analyzes the future prospects for democracy in Somaliland and the different ways in which the electoral procedures and democratisation can be further strengthened.
Address British Institute in Eastern Africa. Laikipia Road, Kileleshwa, tel. 254 20 434 7195 / 434 3330 / 434 3190.
British Institute in Eastern Africa. Laikipia Road, Kileleshwa, tel. 254 20 434 7195 / 434 3330 / 434 3190.


text:
Professor Andrew Lawrence
Msc Sussex, PhD Cantab
lawrencead@cardiff.ac.uk
Cardiff University Brain Research Imaging Centre, Maindy Road, Cardiff, CF24 4HQ
Available for postgraduate supervision
I am Dean of Research and Innovation for the College of Biomedical and Life Sciences and Professor of Cognitive Neuroscience in the School of Psychology, Cardiff University. I am also Theme lead for 'Healthy Aging' as part of the Cardiff University/Office for National Statistics (ONS) Strategic Partnership
My research focuses on understanding the role of large-scale networks linking the prefrontal cortex and the limbic system in coordinating and regulating higher-level cognitive-emotional processes, with an emphasis on how inter-individual differences in these circuits confer resilience or vulnerability to psychopathology and late life cognitive decline. I use state-of-the-art scanning facilities at the Cardiff University Brain Research Imaging Centre (CUBRIC) to investigate the functional and structural connectivity that coordinates cortical-limbic interactions.
With Professor Kim Graham, Dr Jiaxiang Zhang, Professor Derek Jones and colleagues and funded by the MRC and the Waterloo Foundation, we are collaborating with the Bristol-based Avon Longitudinal Study of Parents and Children to investigate how genes and early environment are linked with the structure and function of the developing and adult fronto-limbic connectome. With Dr Carl Hodgetts, Prof. Kim Graham, Dr Jiaxiang Zhang and Professor John Aggleton, and funded by the BBSRC, we are using naturalistic stimuli combined with ultra-high field (7T) multi-modal imaging to investigate the role of hippocampal-prefrontal interactions in event cognition and autobiographical memory. In other projects, with Dr Matthias Gruber, I am investigating the role of medial temporal lobe – prefrontal connectivity in the link between motivation and memory, especially forms of curiosity; and with Dr Raluca Petrican, I am investigating how large-scale neurocognitive network interactions mediate adaptive and maladaptive responses relevant to psychopathology.
1994: MSc Experimental Psychology (University of Sussex)
1997: PhD Experimental Psychology (University of Cambridge). Supervised by TW Robbins & BJ Sahakian
Mar 2007-present: Professor of Cognitive Neuroscience, School of Psychology, Cardiff University, UK
2004-2007: MRC Programme Leader (track), MRC Cognition and Brain Sciences Unit, Cambridge, UK (Emotion group)
2000-2004: Postdoctoral scientist, MRC Cognition and Brain Sciences Unit, Cambridge, UK
1997-2000: Postdoctoral training fellowship (neuroimaging), MRC Clinical Sciences Centre, London, UK
2005-present: Lifetime fellowship, Clare Hall, Cambridge University, UK
Internation Society for Research on Emotion (ISRE)
Lissaman, R., Lancaster, T. M., Parker, G. D., Graham, K. S., Lawrence, A. D. and Hodgetts, C. 2022. Tract-specific differences in white matter microstructure between young adult APOE ε4 carriers and non-carriers: A replication and extension study. NeuroImage 2(4), article number: 100126. (10.1016/j.ynirp.2022.100126)
Karahan, E. et al. 2022. The interindividual variability of multimodal brain connectivity maintains spatial heterogeneity and relates to tissue microstructure. Communications Biology 5, article number: 1007. (10.1038/s42003-022-03974-w)
Berry, S. C., Lawrence, A. D., Lancaster, T. M., Casella, C., Aggleton, J. P. and Postans, M. 2022. Subiculum – BNST structural connectivity in humans and macaques. NeuroImage 253, article number: 119096. (10.1016/j.neuroimage.2022.119096)
Wiseman, C., Lawrence, A., Bisson, J., Hotham, J., Anke, K. and Zammit, S. 2022. Study development and protocol for a cohort study examining the impact of baseline social cognition on response to treatment for people living with post-traumatic stress disorder. European Journal of Psychotraumatology 13(1), article number: 2093036. (10.1080/20008198.2022.2093036)
Costigan, A. G., Umla-Runge, K., Evans, C. J., Raybould, R., Graham, K. S. and Lawrence, A. D. 2021. Evidence against altered excitatory/inhibitory balance in the posteromedial cortex of young adult APOE E4 carriers: a resting state 1H-MRS study. Neuroimage: Reports 1(4), article number: 100059. (10.1016/j.ynirp.2021.100059)
Petrican, R., Miles, S., Rudd, L., Wasiewska, W., Graham, K. S. and Lawrence, A. D. 2021. Pubertal timing and functional neurodevelopmental alterations independently mediate the effect of family conflict on adolescent psychopathology. Developmental Cognitive Neuroscience 52, article number: 101032. (10.1016/j.dcn.2021.101032)
Petrican, R., Graham, K. S. and Lawrence, A. D. 2021. Brain-environment alignment during movie watching predicts fluid intelligence and affective function in adulthood. NeuroImage 238, article number: 118177. (10.1016/j.neuroimage.2021.118177)
Berry, S. C., Wise, R. G., Lawrence, A. D. and Lancaster, T. M. 2021. Extended-amygdala intrinsic functional connectivity networks: a population study. Human Brain Mapping 42(6), pp. 1594-1616. (10.1002/hbm.25314)
Tzavella, L., Maizey, L., Lawrence, A. D. and Chambers, C. D. 2020. The affective priming paradigm as an indirect measure of food attitudes and related choice behaviour. Psychonomic Bulletin and Review 27, pp. 1397-1415. (10.3758/s13423-020-01764-1)
Crawford, B., Muhlert, N., MacDonald, G. and Lawrence, A. D. 2020. Brain structure correlates of expected social threat and reward. Scientific Reports 10, article number: 18010. (10.1038/s41598-020-74334-z)
Coad, B., Postans, M., Hodgetts, C., Muhlert, N., Graham, K. and Lawrence, A. 2020. Structural connections support emotional connections: uncinate fasciculus microstructure is related to the ability to decode facial emotion expressions. Neuropsychologia 145 (10.1016/j.neuropsychologia.2017.11.006)
Williams, A. N., Ridgeway, S., Postans, M., Graham, K. S., Lawrence, A. and Hodgetts, C. J. 2020. The role of the pre-commissural fornix in episodic autobiographical memory and simulation. Neuropsychologia 142, article number: Volume 142, May 2020, 107457. (10.1016/j.neuropsychologia.2020.107457)
Lord, S. R. et al. 2020. Freezing of gait in people with Parkinson's disease: nature, occurrence, and risk factors. Journal of Parkinson's Disease 10(2), pp. 631-640. (10.3233/JPD-191813)
Hodgetts, C. J. et al. 2020. The role of the fornix in human navigational learning. Cortex 124, pp. 97-110. (10.1016/j.cortex.2019.10.017)
Crawford, B., Muhlert, N., MacDonald, G. and Lawrence, A. D. 2020. Individual differences in social reward and threat expectancies linked to grey matter volumes in key regions of the social brain. [Online]. bioRxiv. (10.1101/2020.02.03.916999) Available at: https://doi.org/10.1101/2020.02.03.916999
Costigan, A. G., Umla-Runge, K., Evans, C. J., Hodgetts, C. J., Lawrence, A. D. and Graham, K. S. 2019. Neurochemical correlates of scene processing in the precuneus/posterior cingulate cortex: A multimodal fMRI and 1H-MRS study. Human Brain Mapping 40(10), pp. 2884-2898. (10.1002/hbm.24566)
Karahan, E., Costigan, A., Graham, K., Lawrence, A. and Zhang, J. 2019. Cognitive and white-matter compartment models reveal selective relations 1 between corticospinal tract microstructure and simple reaction time. Journal of Neuroscience 39(30), pp. 5910-5921. (10.1523/JNEUROSCI.2954-18.2019)
Valji, A. et al. 2019. Curious connections: white matter pathways supporting individual differences in epistemic and perceptual curiosity. [Online]. bioRxiv. (10.1101/642165) Available at: https://doi.org/10.1101/642165
Whone, A. L. et al. 2019. Extended treatment with glial cell line-derived neurotrophic factor in Parkinson's Disease. Journal of Parkinson's Disease 9(2), pp. 301-313. (10.3233/JPD-191576)
Whone, A. et al. 2019. Randomized trial of intermittent intraputamenal glial cell line-derived neurotrophic factor in Parkinson's disease. Brain 142(3), pp. 512-525. (10.1093/brain/awz023)
Hodgetts, C. J. et al. 2019. Increased posterior default mode network activity and structural connectivity in young adult APOE-ε4 carriers: a multi-modal imaging investigation. Neurobiology of Aging 73, pp. 82-91. (10.1016/j.neurobiolaging.2018.08.026)
Hodgetts, C. J., Postans, M., Warne, N., Varnava, A., Lawrence, A. D. and Graham, K. S. 2017. Distinct contributions of the fornix and inferior longitudinal fasciculus to episodic and semantic autobiographical memory. Cortex 94, pp. 1-14. (10.1016/j.cortex.2017.05.010)
Ihssen, N., Sokunbi, M. O., Lawrence, A. D., Lawrence, N. S. and Linden, D. 2017. Neurofeedback of visual food cue reactivity: a potential avenue to alter incentive sensitization and craving. Brain Imaging and Behavior 11(3), pp. 915-924. (10.1007/s11682-016-9558-x)
Hodgetts, C. J., Voets, N. L., Thomas, A. G., Clare, S., Lawrence, A. D. and Graham, K. S. 2017. Ultra-high-field fMRI reveals a role for the subiculum in scene perceptual discrimination. Journal of Neuroscience 37(12), pp. 3150-3159. (10.1523/JNEUROSCI.3225-16.2017)
Hodgetts, C. J., Shine, J. P., Lawrence, A. D., Downing, P. E. and Graham, K. S. 2016. Evidencing a place for the hippocampus within the core scene processing network. Human Brain Mapping 37(11), pp. 3779-3794. (10.1002/hbm.23275)
Keedwell, P. A., Doidge, A. N., Meyer, M., Lawrence, N., Lawrence, A. D. and Jones, D. K. 2016. Subgenual cingulum microstructure supports control of emotional conflict. Cerebral Cortex 26(6), pp. 2850-2862. (10.1093/cercor/bhw030)
Henderson, E. J. et al. 2016. Rivastigmine for gait stability in patients with Parkinson's disease (ReSPonD): a randomised, double-blind, placebo-controlled, phase 2 trial. Lancet Neurology 15(3), pp. 249-258. (10.1016/S1474-4422(15)00389-0)
Pellicano, C. et al. 2015. Morphometric changes in the reward system of Parkinson's disease patients with impulse control disorders. Journal of Neurology 262(12), pp. 2653-2661. (10.1007/s00415-015-7892-3)
Shine, J. P., Hodgetts, C. J., Postans, M., Lawrence, A. D. and Graham, K. S. 2015. APOE-ε4 selectively modulates posteromedial cortex activity during scene perception and short-term memory in young healthy adults. Scientific Reports 5, article number: 16322. (10.1038/srep16322)
Loane, C. et al. 2015. Psychogenic and neural visual-cue response in PD dopamine dysregulation syndrome. Parkinsonism & Related Disorders 21(11), pp. 1336-1341. (10.1016/j.parkreldis.2015.09.042)
Hodgetts, C. J., Postans, M., Shine, J. P., Jones, D. K., Lawrence, A. D. and Graham, K. S. 2015. Dissociable roles of the inferior longitudinal fasciculus and fornix in face and place perception. eLife 4, article number: e07902. (10.7554/eLife.07902)
Muhlert, N. and Lawrence, A. D. 2015. Brain structure correlates of emotion-based rash impulsivity. NeuroImage 115, pp. 138-146. (10.1016/j.neuroimage.2015.04.061)
Wu, K. et al. 2015. Single versus multiple impulse control disorders in Parkinson's disease: an 11C-raclopride positron emission tomography study of reward cue-evoked striatal dopamine release. Journal of Neurology 262(6), pp. 1504-1514. (10.1007/s00415-015-7722-7)
van der Klaauw, A. A. et al. 2014. Obesity-associated melanocortin-4 receptor mutations are associated with changes in the brain response to food cues. Journal of Clinical Endocrinology & Metabolism 99(10), article number: E2101. (10.1210/jc.2014-1651)
Djamshidian, A. et al. 2014. Perceptual decision-making in patients with Parkinson's disease. Journal of Psychopharmacology 28(12), pp. 1149-1154. (10.1177/0269881114548437)
Postans, M., Hodgetts, C. J., Mundy, M. E., Jones, D. K., Lawrence, A. D. and Graham, K. S. 2014. Individual variation in fornix microstructure and macrostructure is related to visual discrimination accuracy for scenes but not faces. Journal of Neuroscience 34(36), pp. 12121-12126. (10.1523/JNEUROSCI.0026-14.2014)
Wu, K., Politis, M., O'Sullivan, S. S., Lawrence, A. D., Warsi, S., Lees, A. and Piccini, P. 2014. Problematic internet use in Parkinson's disease. Parkinsonism & Related Disorders 20(5), pp. 482-487. (10.1016/j.parkreldis.2014.01.019)
Lawrence, A. D. and Brooks, D. J. 2014. Ventral striatal dopamine synthesis capacity is associated with individual differences in behavioral disinhibition. Frontiers in Behavioral Neuroscience 8, article number: 86. (10.3389/fnbeh.2014.00086)
Henderson, E. J., Lord, S. R., Close, J. C. T., Lawrence, A. D., Whone, A. and Ben-Shlomo, Y. 2013. The ReSPonD trial - rivastigmine to stabilise gait in Parkinson's disease a phase II, randomised, double blind, placebo controlled trial to evaluate the effect of rivastigmine on gait in patients with Parkinson's disease who have fallen. BMC Neurology 13(1), article number: 188. (10.1186/1471-2377-13-188)
Peers, P. V., Simons, J. S. and Lawrence, A. D. 2013. Prefrontal control of attention to threat. Frontiers in Human Neuroscience 7, article number: 24. (10.3389/fnhum.2013.00024)
Lawrence, A. D., Brooks, D. J. and Whone, A. L. 2013. Ventral striatal dopamine synthesis capacity predicts financial extravagance in Parkinson's Disease. Frontiers in Psychology 4, article number: 90. (10.3389/fpsyg.2013.00090)
Politis, M. et al. 2013. Neural response to visual sexual cues in dopamine treatment-linked hypersexuality in Parkinson's disease. Brain 136(2), pp. 400-411. (10.1093/brain/aws326)
Lawrence, A. D. 2012. Affective neuroscience: Food 'wanting' hotspot in dorsal striatum. Current Biology 22(20), pp. R878-R880. (10.1016/j.cub.2012.08.031)
Lawrence, N. S., Hinton, E. C., Parkinson, J. A. and Lawrence, A. D. 2012. Nucleus accumbens response to food cues predicts subsequent snack consumption in women and increased body mass index in those with reduced self-control. Neuroimage 63(1), pp. 415-422. (10.1016/j.neuroimage.2012.06.070)
Ghosh, B. C. P. et al. 2012. Social cognitive deficits and their neural correlates in progressive supranuclear palsy. Brain 135(7), pp. 2089-2102. (10.1093/brain/aws128)
Smith, J. E., Lawrence, A. D., Diukova, A., Wise, R. G. and Rogers, P. J. 2012. Storm in a coffee cup: caffeine modifies brain activation to social signals of threat. Social Cognitive and Affective Neuroscience 7(7), pp. 831-840. (10.1093/scan/nsr058)
O'Sullivan, S. S. et al. 2011. Cue-induced striatal dopamine release in Parkinson's disease-associated impulsive-compulsive behaviours. Brain 134(4), pp. 969-978. (10.1093/brain/awr003)
Boy, F., Evans, C. J., Edden, R. A. E., Lawrence, A. D., Husain, M., Singh, K. D. and Sumner, P. 2011. Dorsolateral Prefrontal γ-Aminobutyric Acid in Men Predicts Individual Differences in Rash Impulsivity. Biological Psychiatry 70(9), pp. 866-872. (10.1016/j.biopsych.2011.05.030)
Lawrence, A. D., Goerendt, I. K. and Brooks, D. J. 2011. Apathy blunts neural response to money in Parkinson's disease. Social Neuroscience 6(5-6), pp. 653-662. (10.1080/17470919.2011.556821)
Dunn, B. D. et al. 2010. Listening to your heart: How interoception shapes emotion experience and intuitive decision making. Psychological Science 21(12), pp. 1835-1844. (10.1177/0956797610389191)
O'Sullivan, S. S., Evans, A. H., Quinn, N. P., Lawrence, A. D. and Lees, A. J. 2010. Reckless generosity in Parkinson's disease. Movement Disorders 25(2), pp. 221-223. (10.1002/mds.22687)
O'Sullivan, S. S., Djamshidian, A., Evans, A. H., Loane, C. M., Lees, A. J. and Lawrence, A. D. 2010. Excessive hoarding in Parkinson's disease. Movement Disorders 25(8), pp. 1026-1033. (10.1002/mds.23016)
O'Sullivan, S. S. et al. 2010. Impulsive-compulsive spectrum behaviors in pathologically confirmed progressive supranuclear palsy. Movement Disorders 25(5), pp. 638-642. (10.1002/mds.22902)
Evans, A. H., Lawrence, A. D., Cresswell, S. A., Katzenschlager, R. and Lees, A. J. 2010. Compulsive use of dopaminergic drug therapy in Parkinson's disease: Reward and anti-reward. Movement Disorders 25(7), pp. 867-876. (10.1002/mds.22898)
Calder, A. J., Keane, J., Young, A. W., Lawrence, A. D., Mason, S. and Barker, R. A. 2010. The relation between anger and different forms of disgust: Implications for emotion recognition impairments in Huntington's disease. Neuropsychologia 48(9), pp. 2719-2729. (10.1016/j.neuropsychologia.2010.05.019)
Tapper, K., Pothos, E. M. and Lawrence, A. D. 2010. Feast your eyes: Hunger and trait reward drive predict attentional bias for food cues. Emotion 10(6), pp. 949-954. (10.1037/a0020305)
O'Sullivan, S. S., Loane, C. M., Lawrence, A. D., Evans, A. H., Piccini, P. and Lees, A. J. 2010. Sleep disturbance and impulsive-compulsive behaviours in Parkinson's disease. Journal of Neurology, Neurosurgery & Psychiatry 82(6), pp. 620-622. (10.1136/jnnp.2009.186874)
Tavares, P., Barnard, P. J. and Lawrence, A. D. 2010. Emotional complexity and the neural representation of emotion in motion. Social Cognitive and Affective Neuroscience 6(1), pp. 98-108. (10.1093/scan/nsq021)
Koepp, M., Hammers, A., Lawrence, A. D., Asselin, M., Grasby, P. and Bench, C. 2009. Evidence for endogenous opioid release in the amygdala during positive emotion. NeuroImage 44(1), pp. 252-256. (10.1016/j.neuroimage.2008.08.032)
Evans, A. H., Lawrence, A. D. and Lees, A. J. 2009. Changes in psychomotor effects of L-dopa and methylphenidate after sustained dopaminergic therapy in Parkinson's disease. Journal of Neurology, Neurosurgery & Psychiatry 80(3), pp. 267-272. (10.1136/jnnp.2006.108993)
Ewbank, M. P., Lawrence, A. D., Passamonti, L., Keane, J., Peers, P. V. and Calder, A. J. 2009. Anxiety predicts a differential neural response to attended and unattended facial signals of anger and fear. NeuroImage 44(3), pp. 1144-1151. (10.1016/j.neuroimage.2008.09.056)
Peers, P. V. and Lawrence, A. D. 2009. Attentional control of emotional distraction in rapid serial visual presentation. Emotion 9(1), pp. 140-145. (10.1037/a0014507)
Dunn, B. D., Stefanovitch, I., Buchan, K., Lawrence, A. D. and Dalgleish, T. 2009. A reduction in positive self-judgment bias is uniquely related to the anhedonic symptoms of depression. Behaviour Research and Therapy 47(5), pp. 374-381. (10.1016/j.brat.2009.01.016)
Lim, S. et al. 2009. Dopamine dysregulation syndrome, impulse control disorders and punding after deep brain stimulation surgery for Parkinson's disease. Journal of Clinical Neuroscience 16(9), pp. 1148-1152. (10.1016/j.jocn.2008.12.010)
Von Dem Hagen, E., Beaver, J. D., Ewbank, M. P., Keane, J., Passamonti, L., Lawrence, A. D. and Calder, A. J. 2009. Leaving a bad taste in your mouth but not in my insula. Social Cognitive and Affective Neuroscience 4(4), pp. 379-386. (10.1093/scan/nsp018)
Lawrence, A. D. 2009. Apathy. In: Sander, D. and Scherer, K. eds. Oxford Companion to Emotion and the Affective Sciences. Series in Affective Science Oxford: Oxford University Press, pp. 44.
Beaver, J. D., Lawrence, A. D., Passamonti, L. and Calder, A. J. 2008. Appetitive motivation predicts the neural response to facial signals of aggression. Journal of Neuroscience 28(11), pp. 2719-2725. (10.1523/JNEUROSCI.0033-08.2008)
Tavares, P., Lawrence, A. D. and Barnard, P. J. 2008. Paying attention to social meaning: An fMRI study. Cerebral Cortex 18(8), pp. 1876-1885. (10.1093/cercor/bhm212)
Calder, A. J., Beaver, J. D., Davis, M. H., Van Ditzhuijzen, J., Keane, J. and Lawrence, A. D. 2007. Disgust sensitivity predicts the insula and pallidal response to pictures of disgusting foods. European Journal of Neuroscience 25(11), pp. 3422-3428. (10.1111/j.1460-9568.2007.05604.x)
Dunn, B. D., Dalgleish, T., Lawrence, A. D. and Ogilvie, A. D. 2007. The accuracy of self-monitoring and its relationship to self-focused attention in dysphoria and clinical depression. Journal of Abnormal Psychology 116(1), pp. 1-15. (10.1037/0021-843X.116.1.1)
Lawrence, A. D., Goerendt, I. K. and Brooks, D. J. 2007. Impaired recognition of facial expressions of anger in Parkinson's disease patients acutely withdrawn from dopamine replacement therapy. Neuropsychologia 45(1), pp. 65-74. (10.1016/j.neuropsychologia.2006.04.016)
Dunn, B. D., Dalgleish, T., Ogilvie, A. D. and Lawrence, A. D. 2007. Heartbeat perception in depression. Behaviour Research and Therapy 45(8), pp. 1921-1930. (10.1016/j.brat.2006.09.008)
Bishop, S. J., Jenkins, R. and Lawrence, A. D. 2007. Neural Processing of Fearful Faces: Effects of Anxiety are Gated by Perceptual Capacity Limitations. Cerebral Cortex 17(7), pp. 1595-1603. (10.1093/cercor/bhl070)
Beaver, J. D., Lawrence, A. D., van Ditzhuijzen, J., Davis, M. H., Woods, A. and Calder, A. J. 2006. Individual differences in reward drive predict neural responses to images of food. Journal of Neuroscience 26(19), pp. 5160-5166. (10.1523/JNEUROSCI.0350-06.2006)
Goerendt, I. K., Lawrence, A. D., Mehta, M. A., Stern, J. S., Odin, P. and Brooks, D. J. 2006. Distributed neural actions of anti-parkinsonian therapies as revealed by PET. Journal of Neural Transmission 113(1), pp. 75-86. (10.1007/s00702-005-0305-5)
Dunn, B. D., Dalgleish, T. and Lawrence, A. D. 2006. The somatic marker hypothesis: a critical evaluation. Neuroscience & Biobehavioral Reviews 30(2), pp. 239-271. (10.1016/j.neubiorev.2005.07.001)
Evans, A. H. et al. 2006. Compulsive drug use linked to sensitized ventral striatal dopamine transmission. Annals of Neurology 59(5), pp. 852-858. (10.1002/ana.20822)
Cools, R., Calder, A. J., Lawrence, A. D., Clark, L., Bullmore, E. and Robbins, T. W. 2005. Individual differences in threat sensitivity predict serotonergic modulation of amygdala response to fearful faces. Psychopharmacology 180(4), pp. 670-679. (10.1007/s00213-005-2215-5)
Evans, A. H., Lawrence, A. D., Potts, J., Appel, S. and Lees, A. J. 2005. Factors influencing susceptibility to compulsive dopaminergic drug use in Parkinson disease. Neurology 65(10), pp. 1570-1574. (10.1212/01.wnl.0000184487.72289.f0)
Evans, A. H. et al. 2005. Relationship between impulsive sensation seeking traits, smoking, alcohol and caffeine intake, and Parkinson's disease. Journal of Neurology, Neurosurgery & Psychiatry 77(3), pp. 317-321. (10.1136/jnnp.2005.065417)
Mathews, A., Yiend, J. and Lawrence, A. D. 2004. Individual differences in the modulation of fear-related brain activation by attentional control. Journal of Cognitive Neuroscience 16(10), pp. 1683-1694. (10.1162/0898929042947810)
Bishop, S. J., Duncan, J. and Lawrence, A. D. 2004. State anxiety modulation of the amygdala response to unattended threat-related stimuli. The Journal of Neuroscience 24(46), pp. 10364-10368. (10.1523/JNEUROSCI.2550-04.2004)
Dunn, B. D., Dalgleish, T., Lawrence, A. D., Cusack, R. and Ogilvie, A. D. 2004. Categorical and dimensional reports of experienced affect to emotion-inducing pictures in depression. Journal of Abnormal Psychology 113(4), pp. 654-660. (10.1037/0021-843X.113.4.654)
Calder, A. J., Keane, J., Lawrence, A. D. and Manes, F. 2004. Impaired recognition of anger following damage to the ventral striatum. Brain 127(9), pp. 1958-1969. (10.1093/brain/awh214)
Evans, A. H., Katzenschlager, R., Paviour, D., O'Sullivan, J. D., Appel, S., Lawrence, A. D. and Lees, A. J. 2004. Punding in Parkinson's disease: Its relation to the dopamine dysregulation syndrome. Movement Disorders 19(4), pp. 397-405. (10.1002/mds.20045)
Bishop, S., Duncan, J., Brett, M. and Lawrence, A. D. 2004. Prefrontal cortical function and anxiety: exterting control over threat-related stimuli. Nature Neuroscience 7(2), pp. 184-188. (10.1038/nn1173)
McGowan, S., Lawrence, A. D., Sales, T., Quested, D. and Grasby, P. 2004. Presynaptic dopaminergic function in schizophrenia: a Positron Emission Tomographic [18F]Fluorodopa study. Archives of General Psychiatry 61(2), pp. 134-142. (10.1001/archpsyc.61.2.134)
Goerendt, I. K., Lawrence, A. D. and Brooks, D. J. 2004. Reward processing in health and Parkinson's disease: Neural organization and reorganization. Cerebral Cortex 14(1), pp. 73-80. (10.1093/cercor/bhg105)
Lawrence, A. D. and Calder, A. J. 2004. Homologizing human emotions. In: Evans, D. and Cruse, P. eds. Emotion, Evolution and Rationality. Oxford: Oxford University Press, pp. 15-47., (10.1093/acprof:oso/9780198528975.003.0002)
Lawrence, A. D., Murphy, F. C. and Calder, A. J. 2004. Dissociating fear and disgust: implications for the structure of emotions. In: Yiend, J. ed. Cognition, Emotion and Psychopathology: Theoretical, Empirical, and Clinical Approaches. Cambridge: Cambridge University Press, pp. 149-171., (10.1017/CBO9780511521263.009)
Mehta, M. A., McGowan, S. W., Lawrence, A. D., Aitken, M. R. F., Montgomery, A. J. and Grasby, P. M. 2003. Systemic sulpiride modulates striatal blood flow: relationships to spatial working memory and planning. NeuroImage 20(4), pp. 1982-1994. (10.1016/j.neuroimage.2003.08.007)
Lawrence, A. D., Evans, A. H. and Lees, A. J. 2003. Compulsive use of dopamine replacement therapy in Parkinson's disease: reward systems gone awry?. The Lancet Neurology 2(10), pp. 595-604. (10.1016/S1474-4422(03)00529-5)
Goerendt, I. K., Messa, C., Lawrence, A. D., Grasby, P. M., Piccini, P. and Brooks, D. J. 2003. Dopamine release during sequential finger movements in health and Parkinson's disease: a PET study. Brain 126(2), pp. 312-325. (10.1093/brain/awg035)
Lawrence, A. D., Dowson, J., Foxall, G. L., Summerfield, R., Robbins, T. W. and Sahakian, B. J. 2003. Impaired visual discrimination learning in anorexia nervosa. Appetite 40(1), pp. 85-89. (10.1016/S0195-6663(02)00138-1)
Murphy, F. C., Nimmo-Smith, I. and Lawrence, A. D. 2003. Functional neuroanatomy of emotions: A meta-analysis. Cognitive, Affective, & Behavioral Neuroscience 3(3), pp. 207-233. (10.3758/CABN.3.3.207)
Lawrence, A. D., Calder, A. J., McGowan, S. V. and Grasby, P. M. 2002. Selective disruption of the recognition of facial expressions of anger. Neuroreport 13(6), pp. 881-884.
Rabiner, E. A. et al. 2002. A database of [C-11]WAY-100635 binding to 5-HT1A receptors in normal male volunteers: Normative data and relationship to methodological, demographic, physiological, and behavioral variables. NeuroImage 15(3), pp. 620-632. (10.1006/nimg.2001.0984)
Calder, A. J., Lawrence, A. D., Keane, J., Scott, S. K., Owen, A. M., Christoffels, I. and Young, A. W. 2002. Reading the mind from eye gaze. Neuropsychologia 40(8), pp. 1129-1138. (10.1016/S0028-3932(02)00008-8)
Lawrence, A. D. 2002. Huntington's disease. In: Harrison, J. and Owen, A. M. eds. Cognitive Deficits in Neurological Disorders. London: Dunitz, pp. 169-196.
Cagnin, A. et al. 2001. In vivo visualization of activated glia by [C-11] (R)-PK11195-PET following herpes encephalitis reveals projected neuronal damage beyond the primary focal lesion. Brain 124(10), pp. 2014-2027. (10.1093/brain/124.10.2014)
Calder, A. J., Lawrence, A. D. and Young, A. W. 2001. Neuropsychology of fear and loathing. Nature Reviews Neuroscience 2, pp. 352-363. (10.1028/35072584)
Lawrence, A. D. and Grasby, P. M. 2001. The functional neuroanatomy of emotional disorders. In: Boller, F. and Grafman, J. eds. Emotional Behaviour and its Disorders., Vol. 5. Handbook of Neuropsychology, 2nd Edition Vol. 5. Amsterdam: Elsevier, pp. 235-262.
Lawrence, A. D., Rosser, A. E. and Sahakian, B. J. 2001. Cognition. In: Fawcett, J. W., Rosser, A. E. and Dunnett, S. B. eds. Brain Damage, Brain Repair. Oxford: Oxford University Press, pp. 243-254., (10.1093/acprof:oso/9780198523376.003.0018)
Lawrence, A. D. and Sahakian, B. J. 2001. Outcome variables in dementia trials: conceptual and practical issues. In: Guiloff, R. J. ed. Clinical Trials in Neurology. Berlin: Springer-Verlag, pp. 171-182.
Lawrence, A. D. 2000. Error correction and the basal ganglia: similar computations for action, cognition and emotion?. Trends in Cognitive Sciences 4(10), pp. 365-367. (10.1016/S1364-6613(00)01535-7)
Lawrence, A. D., Watkins, L. H. A., Sahakian, B. J., Hodges, J. R. and Robbins, T. W. 2000. Visual object and visuospatial cognition in Huntington's disease: implications for information processing in corticostriatal circuits. Brain 123(7), pp. 1349-1364. (10.1093/brain/123.7.1349)
Watkins, L. H. A., Rogers, R. D., Lawrence, A. D., Sahakian, B. J., Rosser, A. E. and Robbins, T. W. 2000. Impaired planning but intact decision making in early Huntington's disease: implications for specific fronto-striatal pathology. Neuropsychologia 38(8), pp. 1112-1125. (10.1016/S0028-3932(00)00028-2)
Lawrence, A. D., Sahakian, B. J., Rogers, R. D., Hodges, J. R. and Robbins, T. W. 1999. Discrimination, reversal, and shift learning in Huntington's disease: mechanisms of impaired response selection. Neuropsychologia 37(12), pp. 1359-1374. (10.1016/S0028-3932(99)00035-4)
Lawrence, A. D., Koepp, M. J., Gunn, R. N., Cunningham, V. J. and Grasby, P. M. 1999. Steps to a neurochemistry of personality [Letter]. Behavioral and Brain Sciences 22(3), pp. 528-529. (10.1017/S0140525X99332040)
Robbins, T. W., James, M., Owen, A. M., Sahakian, B. J., Lawrence, A. D., McInnes, L. and Rabbitt, P. M. A. 1998. A study of performance on tests from the CANTAB battery sensitive to frontal lobe dysfunction in a large sample of normal volunteers: Implications for theories of executive functioning and cognitive aging. Journal of the International Neuropsychological Society 4(5), pp. 474-490.
Lawrence, A. D. et al. 1998. Evidence for specific cognitive deficits in preclinical Huntington's disease. Brain 121(7), pp. 1329-1341. (10.1093/brain/121.7.1329)
Lawrence, A. D. et al. 1998. The relationship between striatal dopamine receptor binding and cognitive performance in Huntington's disease. Brain 121(7), pp. 1343-1355. (10.1093/brain/121.7.1343)
Koepp, M. J. et al. 1998. Evidence for striatal dopamine release during a video game [Letter]. Nature 393(6682), pp. 266-268. (10.1038/30498)
Lawrence, A. D. and Sahakian, B. J. 1998. The cognitive psychopharmacology of Alzheimer's disease: Focus on cholinergic systems. Neurochemical Research 23(5), pp. 787-794. (10.1023/A:1022419712453)
Lawrence, A. D., Sahakian, B. J. and Robbins, T. W. 1998. Cognitive functions and corticostriatal circuits: insights from Huntington's disease. Trends in Cognitive Sciences 2(10), pp. 379-388. (10.1016/S1364-6613(98)01231-5)
Lawrence, A. D., Sahakian, B. J., Hodges, J. R., Rosser, A. E., Lange, K. W. and Robbins, T. W. 1996. Executive and mnemonic functions in early Huntington's disease. Brain 119(5), pp. 1633-1645. (10.1093/brain/119.5.1633)
Lawrence, A. D. and Sahakian, B. J. 1996. The neuropsychology of fronto-striatal dementias. In: Woods, R. T. ed. Handbook of the Clinical Psychology of Aging. Chichester: Wiley, pp. 243-265.
Lawrence, A. D. and Sahakian, B. J. 1995. Alzheimer Disease, Attention, and the Cholinergic System. Alzheimer Disease & Associated Disorders 9(S2), pp. 37-49.
Book sections
I am coordinator (and sole lecturer) on the final year module PS3416 "Emotion: social and neuroscience perspectives"
This course aims to provide students with an understanding of social and neuroscience perspectives on emotion, and how they might be integrated. The first half of the course focuses on the social (including cultural) functions of emotions. The second half focuses on the neuroscience of emotion and communication of emotions, including brain imaging (fMRI, EEG) and patient-based neuropsychological approaches to understanding the neural underpinnings of emotions and their intra-individual and social functions. The aim is to provide an integrated overview and understanding of contemporary debates and techniques in affective science and their relevance to 'the real world'
In addition, I give lectures (on the role of large-scale neurocognitive networks in emotion) , workshops (on neuroimaging meta analysis) and journal clubs on the module PST516: Topics in Cognitive Neuroscience as part of the MSc in Neuroimaging methods and applications
I supervise final year and MSc students on their research projects. These are usually on some aspect of the social functions of emotion and mental time travel/self-projection. I am a Personal Tutor to students at all levels of the Undergraduate degree.
My research uses converging cognitive neuroscience methods to study the role of large-scale networks linking the prefrontal cortex and the limbic system in coordinating and regulating higher-level cognitive-emotional processes, with an emphasis on how inter-individual differences in the structure and function of these circuits confer resilience or vulnerability to psychopathology and late life cognitive decline.
Currently, my lab, which is run jointly with Professor Kim Graham, is working on the following research projects:
The role of PFC-Amygdala interactions in adaptive socio-affective behaviour
In this line of research, we study how Individual differences in affective and social processes may arise from variability in amygdala-prefrontal (PFC) circuitry and related genetic and environmental heterogeneity. A particular focus has been on investigating the role of white matter tracts, including the uncinate fasciculus, that carry neuronal fibres connecting the PFC with the MTL and other regions of the cortex. We use several cognitive neuroscience methods (structural MRI, diffusion MRI, task-based and task-free functional MRI, MR Spectroscopy and more recently computational modelling) to explore how amygdala-PFC interactions mediate core cognitive-affective processes underpinning the detection/anticipation/interpretation of socially relevant signals and that guide adaptive social approach and avoidance motivation, particularly in the context of the social- evaluative threats (and rewards) that are unique to complex human social life.
The role of PFC-hippocampal interactions in autobiographical memory and event cognition
In this line of research, we study how individual differences in autobiographical and event memory (including forms of imagination and deliberation) may arise from variability in hippocampal-prefrontal and related circuitry and related genetic and environmental/cultural heterogeneity. A particular focus has been on investigating the role of white matter tracts, including the fornix and cingulum bundle , that carry neuronal fibres connecting the PFC with the MTL and other regions of the cortex (as part of a wider 'core' or 'default mode' network). We use several cognitive neuroscience methods (structural MRI, diffusion MRI, task-based and task-free functional MRI, eye-tracking, MEG, and MR Spectroscopy) to explore how MTL-PFC interactions mediate core representations and processes underpinning the uniquely human capacity for "mental time travel" or "self-projection" and self-regulation.
Key current funding
2021-2024 BBSRC: The subiculum: a key interface between scene representation and event memory? Lead PIs: Hodgetts and Lawrence. Co-PIs: Aggleton, Zhang, Graham £1.2M
2021-23 The Waterloo Foundation: How does hippocampal maturation support the development of human memory? PI: Graham, Co-PIs: Lawrence, Zhang, Hodgetts, Adlam & Langley £300k
2017-21 MRC: Characterising brain network differences during scene perception and memory in APOE-e4 carriers: multi-modal imaging in ALSPAC. Lead PIs: Graham & Lawrence. Co-PIs Saksida, Jones, Wise, Filippini, Mackay, Kordas £1.75M
I have successfully supervised over a dozen PhD and MD students all of whom have successfully completed their PhD and passed with only minor corrections.
Students wishing to work in the group should be interested in studying the role of large-scale networks linking the prefrontal cortex and the limbic system in coordinating and regulating higher-level cognitive-emotional processes, with a particular focus on autobiographical memory/event cognition and/or adaptive social behaviour, including social emotions, from a functional perspective.
Skills in neuroimaging, (multivariate) statistics and data science are likely to be required, as much of our research involves application of multi-modal imaging approaches to test the functionality of these neural circuits. Our translational work involves research with young and older individuals at varying levels of risk for psychopathology and/or later life cognitive decline, but also cross-cultural investigations with researchers working in low-to-middle income countries (e.g. India). We are also engaging in a new line of work on the development of fronto-limbic circuitry, which involves brain imaging and cognitive phenotyping studies in children. We also have an increasing interest in the application of natural language processing tools in the study of autobiographical memory and emotional language coding.
If you are interested in applying for a PhD, or for further information regarding my postgraduate research, please contact me directly (contact details available on the 'Overview' page), or submit a formal application.
Aminette D'Souza (jointly with Professor Kim Graham, Cardiff University)
Dr Chantelle Wiseman (jointly with Professor Stan Zammit, Cardiff/Bristol Universities)
Rikki Lissaman (jointly with Dr Carl Hodgetts, RHUL and Professor Kim Graham, Cardiff)
Samuel Berry (jointly with Dr Tom Lancaster, Bath)
Erika Leonaviciute
2020 (date of graduation): Samuel Ridgeway
2018: Stephanie Baker
2018: Bethany Coad (winner prize for best PhD in Psychology)
2015: Bonni Crawford
2013: Marcel Meyer
Imaging science


Grassroots Justice Prize Competition 2019 | Apply Now before Deadline.
Grassroots Justice Prize Competition 2019… The biennial Grassroots Justice Prize competition is the world's only competition recognizing grassroots organizations and institutions, large and small, across the globe, that are working to put the power of law into people's hands.
Please note that if a representative of the winning organization cannot attend the event in New York for any reason, the trip will be forfeited. No cash or travel voucher will be provided in lieu of the trip nor will a change of dates be permitted. However, the organization will still receive the $10,000 USD cash prize.
The 2019 Grassroots Justice Prize competition is open to non-profit organizations, social enterprises, and public institutions from all around the world.
Organizations that partner directly with Namati are not eligible for the prize.
They are looking for grassroots legal empowerment projects that demonstrate outstanding innovation, impact, and/or sustainability.
Eligible projects might use a community paralegal approach or they may be providing legal education and basic rights awareness. The key is that they are putting the power of law in people's hands in order to tackle poverty, injustice, or other social problems.
Projects that are restricted to one part of an organization's overall work will also be considered.
There are three stages in selecting the Grassroots Justice Prize winners.
Complete and submit the online application form by Friday, March 8th at 23:59 GMT.
Note: Nominations must be received no later than Friday, February 22nd. The organization will then have until the March 8th deadline to complete their application.
Namati and the 2019 Grassroots Justice Prize judging panel—comprised of notable legal empowerment practitioners and academics—will shortlist the most promising entries. All shortlisted applicants will be contacted and may be asked to provide more information.
The 2019 Grassroots Justice Prize judging panel will select the winners of the three main $10,000 USD prizes. The winners will be publicly announced in July 2019.
The judges will create a shortlist of applicants for a fourth prize of a yet-undetermined amount. The winner of this prize will be decided by a public vote, to be held in April-May 2019.


text:
from pygit2 import GIT_OBJ_TAG
from pygit2 import GIT_SORT_TIME
from pygit2 import GIT_SORT_TOPOLOGICAL

from ellen.utils.format import format_commit

def rev_list(repository, to_ref, from_ref=None, path=None, skip=0,
             max_count=0, author=None, query=None, first_parent=None,
             since=0, no_merges=None):
    """git rev-list command, pygit2 wrapper.
    But this returns a commit list"""

    if repository.is_empty:
        return []

    commits_index_list = []
    commits_dict = {}
    # TODO: use resolve_version
    to_commit = repository.revparse_single(to_ref)

    walk_order = GIT_SORT_TOPOLOGICAL if first_parent else GIT_SORT_TIME
    if to_commit.type == GIT_OBJ_TAG:
        to_commit = repository[to_commit.target]
    next_commit = None
    walker = repository.walk(to_commit.id, walk_order)
    if from_ref:
        try:
            from_commit = repository.revparse_single(from_ref)
            if from_commit.type == GIT_OBJ_TAG:
                from_commit = repository[from_commit.target]
            walker.hide(from_commit.id)
        except (KeyError, ValueError):
            from_commit = None

    if max_count:
        length = max_count + skip if skip else max_count
    else:
        length = 0
    for c in walker:
        if all([_check_author(c, author),
                _check_file_change(c, path),
                _check_message(c, query),
                _check_date(c, since),
                _check_no_merges(c, no_merges)]):
            index = c.hex
            if first_parent:
                if next_commit and next_commit.hex != c.hex:
                    continue
                if len(c.parents) == 0:
                    next_commit = None
                elif len(c.parents) >= 1:
                    next_commit = c.parents[0]
                else:
                    continue
            if index not in commits_index_list:
                commits_index_list.append(index)
            commits_dict[index] = c
        if length and len(commits_index_list) >= length:
            break
    if skip:
        commits_index_list = commits_index_list[skip:]
    return [format_commit(commits_dict[i], repository)
            for i in commits_index_list]

def _check_author(commit, author):
    """check author or email"""
    if author and commit.author.name == author:
        return True
    elif author and commit.author.email == author:
        return True
    elif not author:
        return True
    return False

# FIXME: time & offset ?
def _check_date(commit, since):
    if since and commit.committer.time > since:
        return True
    elif not since:
        return True
    return False

def _check_no_merges(commit, no_merges):
    if no_merges and len(commit.parents) <= 1:
        return True
    elif not no_merges:
        return True
    return False

# no use yet
def _check_path(tree, path):
    try:
        entry = tree[path]
    except KeyError:
        return None
    return entry

def _check_message(commit, query):
    if query and query in commit.message:
        return True
    elif not query:
        return True

# FIXME: add quick diff
def _check_file_change(commit, path):
    if path and commit.is_changed([path], no_diff=True)[0]:
        return True
    #commit_tree = commit.tree
    #parents = commit.parents
    #if path and _check_path(commit_tree, path):
    #    count = 0
    #    c_entry = commit_tree[path]
    #    for p in parents:
    #        parent_tree = p.tree
    #        if commit_tree.id == parent_tree.id:
    #            return False
    #        p_entry = _check_path(parent_tree, path)
    #        if not p_entry:
    #            count += 1
    #            continue
    #        if p_entry.id != c_entry.id:
    #            count += 1
    #    if count == len(parents):
    #        return True
    elif not path:
        return True

redpajama_set_name: RedPajamaGithub


The best mod you can do to improve handling on the Fiesta ST, you can get on the power earlier in the corner and exit acceleration is crazy.
The diff itself you wouldn't even know it is there until you want it to, low speed turning through carparks I was expecting some type of noise or gear chatter but there isn't any at all.
Click the button below to add the MFACTORY LSD - HELICAL LIMITED SLIP DIFFERENTIAL ST180 to your wish list.


text:
HOSP-RIDE HORROR – AMBULANCE CRASH KILLS CANCER PATIENT
By Hasani Gittens
A cancer-stricken Brooklyn man being transported to a hospital for emergency treatment was killed early yesterday when his TransCare ambulette flipped on its side after colliding with an SUV driven by an off-duty cop.
Two others in the ambulette – its driver and a friend of the cancer patient – were hospitalized in critical condition following the crash at Fourth Avenue and 38th Street in the Sunset Park section of Brooklyn.
The crash came just days after officials disclosed that TransCare had employed 25 drivers to transport disabled schoolchildren in ambulances for the city Department of Education.
It was not immediately known if Audrey Ellington, the ambulette driver involved in the crash, was one of the 25 – but state Department of Motor Vehicles records indicate she has been disqualified from driving schoolkids.
"It could be because we checked her criminal background and there may be something there, or it may be for administrative reasons," said DMV spokesman Joe Picchi, adding that he would review her records today.
TransCare officials did not return The Post's calls
Ellington, 45, and EMT Dennis Lucas, 20, had picked up throat-cancer patient Angel Gonzalez, 56, at his Sunset Park apartment at about 12:40 a.m. along with his home-care aide, Maria Ceda, 32, and friend Santa Martinez, 60.
The accident occurred minutes later, a mile from Gonzalez's home, as the ambulette sped north on Fourth Avenue toward Lutheran Medical Center with its siren blaring and emergency lights flashing, Ceda said.
"All of a sudden there was a boom," she told The Post, speaking in Spanish.
She said the ambulette flipped onto its passenger side, and Gonzalez and his wheelchair fell on top of Martinez.
Gonzalez was pronounced dead a short time later.
The other vehicle involved in the crash was a Chevy Blazer heading east on 38th Street with off-duty narcotics cop Steve Alonso, 35, behind the wheel, police said.
No summonses or arrests were made following the crash, police said.
Gonzalez's relatives and friends were reeling at the news of his death.
"It was devastating enough to see such an upbeat and fun person being ravaged by cancer, but to see him go out like this . . . I have mixed feelings about it," said his nephew, Willie Lopez, a Post photographer.
SUITE-HEART DEAL - BRUNO BRO SECRETLY GETS LUSH OFFICE ON ...