text:
June 2020 Statement on Racial Justice
Accountability Update on Racial Justice
An update on the Department of Theater's June 2020 statement on racial justice: The actions we've taken to educate ourselves, changes we've implemented, and what we plan to do to keep our department accountable.
At the end of the spring '20 term the Theater Department released a "Statement on Racial Justice." In that statement, we vowed to devote the summer to formulating a specific plan of action and indicated that the first phase would be announced at the beginning of the fall '20 term.
We did in fact devote the summer as well as the fall, winter, and spring to the development of a plan of action. We did not, however, announce the first phase because we felt that we had much more work to do. We have already put a number of changes into place, but we know that this 'process' will require our ongoing attention well into the future.
We understand that outcome is more important than intention. With that in mind I want to announce some of the action items that have grown from our work thus far, and share the outline of what our process has been.
During the summer 2020 numerous theater faculty took part in a 2- week workshop run by Academics for Black Survival and Wellness. This group describes itself in the following manner:
'Academics for Black Survival and Wellness was organized by a group of Black counseling psychologists and their colleagues who practice Black allyship. Guided by a Black feminist frame, we hope to foster accountability and growth for non-Black people and enhance healing and wellness for Black people.'
https://www.academics4blacklives.com/about
In October, the entire Department took part in a workshop with the Armah Institute of Emotional Justice. For this workshop, Black students and alumni going back to the early 1990's were interviewed by the Institute and asked to discuss their experiences as past Theater students. The staff and faculty of the Theater Department then participated in feedback sessions in which we were confronted by the issues revealed through those interviews. Faculty and staff were subsequently divided into working groups to develop action steps in response to what we heard.
The Armah Institute describes its vision in the following manner:
OUR VISION
We envision a global community in which emotions and emotionality are understood in the context of race, gender, culture and history thereby fostering greater harmony in human relationships and heightened productivity that improves the quality of life for all.
We treat the emotional as structural, as holding a pivotal role in developing, upholding or dismantling systems of inequity due to trauma from global histories of white supremacy.
We connect the emotional and the fiscal to build a powerful, profitable future that does not privilege some, but profits all. Emotionality education expands our notion of culture.
We do that by engaging, implementing, amplifying the framework 'EMOTIONAL JUSTICE'.
https://www.theaiej.com/about-aeij
Immediately following this workshop with the ARMAH Institute, the Department created three sub-committees charged with developing action items specific to our Curriculum, Production Program, and Outreach. We also chose a faculty liaison to meet with the ARMAH Institute every other month for six months to discuss and evaluate the changes that we were putting into place.
This spring, a select group of staff and faculty from the Theater Department were engaged in a quarter long pilot workshop with the CRAFT Institute, a non-profit organization dedicated to promoting equitable eco-systems in arts and entertainment, in academia, and in the professional world. The goal of this workshop was to: "assess the eco-systems and culture within our department as they pertain to institutional racism, white supremacy and anti-Blackness."
The CRAFT institute met with current students and alumni to discuss the culture of the department. They subsequently met with faculty and staff of the Theater Department to present these issues and engage in conversations about our day-to-day operations 'in order to transform the departmental culture into one where equitable eco-systems exist.'
Dr. Monica White Ndounou (who is an Associate Professor of Theater at Dartmouth) is the founder and Director of The Craft Institute. Below is the CRAFT Institute website:
https://www.thecraftinstitute.org/
The following changes constitute the first phase of new initiatives within the department. We are keenly aware that these revisions will need to be assessed for their effectiveness and reimagined as necessary. The goal is to make the Department more inclusive, more open, more equitable, and more representative of the diversity of our students. We intend to place the students at the center of the learning experience.
Acting One
Acting One is often the "gateway course" for students into the department. Our commitment is to create a diverse and inclusive course by removing the barriers and restrictions to enrollment, by diversifying the course content, and by including a diverse roster of instructors for the course.
To that end, we have removed the Instructor Permission (IP) requirement for enrollment and we have revised the course description. The new description is as follows:
"This course is open to all students. No theater experience is necessary.
To achieve success as a performing artist, an actor must commit to building an ensemble based on respect and mutual understanding and to embracing the notion that empathy is at the heart of the actor's art.
Students will be encouraged to explore their creative abilities on a journey of self- discovery in order to build this sense of ensemble. Through individual and group exercises, students will be introduced to the techniques necessary to play a character believably and honestly. The class will culminate with scene presentations from realistic American plays by authors of diverse cultural backgrounds.
(no instructor permission required)"
We will increase our outreach efforts to make all students aware of the new course description and to emphasize that no theater experience or permission is necessary to participate.
We are currently in the process of recruiting an African American guest artist to teach a section of Acting One in winter 2022 (as well as direct the musical production.)
These revisions will be implemented for the 21-22 academic year. We will evaluate the impact of these changes after year one and adjust our approach accordingly.
Last year the Theater Department initiated an annual rotating playwriting residency. Each year the Department will invite a new playwright to campus (focusing primarily on playwrights of the global majority) to teach three courses in playwrighting. In collaboration with New York Theatre Workshop, we have established a growing list of emerging and established playwrights as possible candidates. This past year Mfoniso Udofia joined us as our resident playwright. In 21-22 Liliana Padillo will join us to teach two courses in the fall and one in the winter.
All faculty in the "practice" area of our curriculum ( Performance, Directing, Design, and Technical Theater) have moved to create equitable representation within the content of their courses. Faculty have examined the texts and materials that we use to teach, what guests we invite to class, what artists we study, what productions we attend and/or discuss, and what projects we assign.
Production and Play Selection
Following our work with the Armah Institute, the Department has begun a series of steps to fundamentally reexamine how and what work we produce and for whom. At the core of these goals is the centering of the student experience, paying particular attention to those students who have been marginalized in the past.
As part of this important work, a committee of faculty and staff is looking at our production program and process, with student input included at each step. Included in this plan are the following:
We have committed to a more transparent season selection process. A standing committee consisting of students, theater faculty and staff, and representatives from "partner departments" is being established to create a framework for season selection beginning with the '22-'23 season. An "interim season" for '21-'22 is currently being created, again with significant student input.
Based on the need to create a more welcoming and inclusive environment for incoming students, we will be producing what we are currently calling the First Year Project. No auditions will be necessary so that all first-year students who express an interest will be able to participate. The choice of material will be determined by that particular group of students and the faculty director. We hope that this broader introduction to the department as a whole will create greater energy, transparency and inclusivity.
We have invited BUTA (the Black Underground Theater Association) to have a yearly presence on our stages, with broad production support from the department. While we have had a long relationship with this important student organization, we are hopeful that this commitment will foster a sustainable and ongoing presence of BUTA in our program.
We are committed to bringing in more guest directors and designers from the Global Majority and have been working with the Craft Institute and other sources to create a database of professional artists who identify with the Global Majority.
We will repeat from our statement from last spring:
"We are determined to create a more equitable, just world for our students. We are determined to use the power of theater to revitalize the political power of collaboration, imagination, solidarity, and care. We invite and welcome your involvement during the development and crafting of our plan. Please contact Department Chair Dan Kotlowitz with your thoughts and ideas, or use this form to share your ideas anonymously."


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August 21, 2018 1:00PM PT
Tiffany Haddish Sets Netflix Stand-Up Special
CREDIT: Stewart Cook/REX/Shutterstock
The Tiffany Haddish train keeps on rolling.
The comedian and actress is set to debut a brand new one-hour stand-up special on Netflix. Haddish will record the special in early 2019, with Netflix set to release later in the year. Haddish's first stand-up special, "Tiffany Haddish: She Ready! From the Hood to Hollywood," debuted on Showtime last year.
"Tiffany Haddish is a force," said Lisa Nishimura, vice president of original documentary and comedy for Netflix. "Hilariously funny, brash and self-effacing, she's an incredible artist who is winning over audiences while breaking barriers, and we are tremendously proud that she will showcase her formidable talent on Netflix."
Haddish's breakout role in the hit 2017 comedy film "Girls' Trip" earned her widespread acclaim. She has been on a hot streak ever since. In addition to releasing her first stand-up special, she also released her first book, "The Last Black Unicorn." She will also star alongside Kevin Hart in the upcoming film "Night School," as well as films like "The Lego Movie 2: The Second Part" and "The Secret Life of Pets 2."
On the TV side, Haddish will lend her voice in one of the key roles in the upcoming Netflix series "Tuca & Bertie" from the "BoJack Horseman" team. She also currently stars alongside Tracy Morgan in the TBS comedy series "The Last OG" and is up for an Emmy in the guest actress in a comedy category for hosting "Saturday Night Live."
Haddish is also getting into producing under her first-look deal with HBO. As Variety exclusively reported, Haddish will executive produce the comedy project "Unsubscribed" in development at HBO from writers and executive producers Xosha Roquemore and Danielle Henderson.
She is repped by APA, Artists First, and Del Shaw Moonves.
Haddish is the latest high-profile comedian to set up a special at Netflix. Previously, the streaming giant, which has aggressively pushed into the stand-up space in recent years, has landed big names like Chris Rock, Dave Chappelle, Ellen DeGeneres, Amy Schumer, Kevin James, Iliza Shlesinger, and many more for original specials. Netflix has also been shining a light on lesser-known comics through series like "The Comedy Lineup," which showcases multiple comedians doing 15 minute sets.
Welcome back to Tune In: our weekly newsletter offering a guide to the best of the week's TV. Each week, Variety's TV team combs through the week's schedule, selecting our picks of what to watch and when/how to watch them. This week, "Star Trek: Picard" beams into existence on CBS All Access and "Shrill" returns [...]

redpajama_set_name: RedPajamaCommonCrawl


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Rich writes: "Rudy Giuliani finally wrote a Wall Street Journal op-ed trying to roll back his attack on President Obama for insufficiently loving America."
Rudy Giuliani. (photo: AP)
Frank Rich: Rudy Giuliani Is Now Trump, Minus the Hair
By Frank Rich, New York Magazine
Most weeks, New York Magazine writer-at-large Frank Rich speaks with contributor Alex Carp about the biggest stories in politics and culture. This week, the magazine asked him about a Bill O'Reilly non-scandal, Rudy Giuliani's comments, and the problem with the Oscars.
fter digging in for days, Rudy Giuliani finally wrote a Wall Street Journal op-ed trying to roll back his attack on President Obama for insufficiently loving America. Chuck Todd called the media frenzy a "race to the bottom" for everyone involved and Mississippi governor Haley Barbour wondered why anyone should care. Is this the end of Rudy Giuliani as a figure with any real political influence?
That end came long ago — to put a fine point on it, during Giuliani's short-lived 2008 presidential campaign, surely one of the most farcical ever run by a candidate who was, for a time anyway, considered a top-tier prospect. (Chris Christie, however, shows signs of giving him a run for the money on this score.) Since then, he has mainly retreated to his consulting and legal business, where his patriotic clients have included the pharmaceutical company that pleaded guilty to lying about the addiction risks of OxyContin, and the government of Qatar, which has been accused of funding terrorism. When he periodically emerges to spew venom against Obama, he has all the public stature of Donald Trump — minus the hair and a prime-time television show.
This latest fracas was intriguing, to some extent, as a psychiatric case study. How weird was it for Giuliani to accuse Obama of not loving America when his own love for America was demonstrated by his lobbying of President Bush to nominate Bernie Kerik as Secretary of Homeland Security. If Kerik, a corrupt Rudy crony, had actually ascended to that job, the very security of America would have been at stake. No less bizarre is Giuliani's dissing of Obama's childhood, purporting that the president had been influenced at a young age by Communists and socialists. In reality, Obama's maternal grandfather was a World War II vet, as was a great uncle who helped liberate Buchenwald. Giuliani's own father didn't serve in the war because he did time as a felon in Sing Sing. Rudy himself was as brilliant at securing Vietnam draft exemptions as such fellow chicken hawks Dick Cheney and Newt Gingrich.
If nothing else, this incident shows us that private GOP soirées in fancy venues will continue to be a boon to Democrats. The leaking of Giuliani's incendiary remarks — which he delivered at a private event for Scott Walker at the 21 Club — recalls nothing so much as the dissemination of Mitt Romney's "47 percent" monologue at the Boca Raton home of a private equity baron. No Republican politician who spills his true convictions to a room of fat cats may be safe.
When Brian Williams was found guilty of making stuff up at NBC, he was removed from his anchor desk. But Fox News is fighting back against the Mother Jones report that Bill O'Reilly has a "Brian Williams problem," having inflated his own résumé as a "war zone" and "combat" reporter in the Falklands during his brief early career as a CBS News reporter. O'Reilly has even threatened to come down "with everything I have" to try to intimidate a Times reporter covering the story. Are the contrasting postures of NBC and Fox News just a case of different networks shrewdly playing to their own audiences?
Of course. This is truly an apples-and-oranges situation. NBC News must maintain the illusion that its anchors are trustworthy, even Godlike figures who would never tell a lie. The Williams fiasco threatened to destroy a brand that was already reeling from its ratings declines in daytime (Today) and Sunday (Meet the Press). The exact opposite dynamic prevails at Fox News. As my colleague Gabe Sherman, who literally wrote the book on Roger Ailes, has pointed out, the whole point of O'Reilly and his cohort is to bear arms against their favorite bogeyman, the effete mainstream media. Indeed, it's safe to assume that O'Reilly's battle against Mother Jones is literally the only combat duty he ever has seen or will see.
And so while Williams's lies were seen by many in his audience as a shocking break with his reputation for credibility and probity, everything O'Reilly is doing reinforces the character his fans love and his foes love to hate. He's long threatened and demonized journalists who've crossed him. (I've had my own experience with this, back in the days he went after me for calling Mel Gibson out for anti-Semitism.) He also has a history of veering from the truth and mythologizing his past. Michael Kinsley and Al Franken called him out some dozen years ago for falsely claiming to have won a Peabody Award and for exaggerating his claim to a "jus' folks" blue-collar upbringing. Though as Lizz Winstead tweeted today, in reference to the 2004 sexual harassment suit O'Reilly had to settle: "So the loofah story is still solid right?"
Anyway, this all looks like a win-win for O'Reilly. He may even succeed in stopping people from buzzing about his rising in-house rival, Megyn Kelly, for a while.
In an Oscars roundup, the Times noted that the show had its lowest ratings since 2009, that it had to compensate for the lack of nonwhite nominees with a "large number of black presenters and performers," and that there was a disconnect between the movies people want to see (as measured at the box office) and those the Academy wants to reward. What are most people not getting about the Oscars, and what is the Academy not getting about the movie-going public?
I think the public gets the Oscars well enough. Viewers tune in for the broadcast when the nominees are movies on their radar screen. This year's Best Picture winner, Birdman, had a total domestic gross of about $38 million as of last weekend. Based on an average movie-ticket price of eight dollars and change, that means it's been seen by a bit over 4.5 million people — just about half the viewership of say, the NBC Nightly News with Lester Holt, and just under a third of the audience of Fox's new prime-time hit Empire. (And Empire, unlike the Oscars, has a black as well as a white audience.) It didn't help this year that the show itself crept along at a pace worthy of a Congressional hearing on C-Span.
The Academy is the Academy. It never really changes and never really learns, and is, like so many legacy media, a deer caught in the headlights of the digital age. The long-term prospects for the Oscar show are not great unless someone figures out how to make it compelling television befitting the Golden Age of television we happen to be in now. You know you're in trouble when a high point of the show is John Travolta's creepy invasion of Idina Menzel's space. And when even the In Memoriam segment is screwed up — by the exclusion of both film clips and Joan Rivers. Death is supposed to be the one thing Hollywood always knows how to do.
+76 # fredboy 2015-03-02 12:27
Rudy is a tragic figure. His love of America includes avoiding military service to the United States. As mayor he, along with the White House, failed to protect New York City on 9/11 then, strangely, his "best cops" NYPD never conducted a criminal investigation of the city's and nation's worst mass murder. This guy is all puff. Time to put him on the shelf with all the other loser politicians that floated to the top of the GOP toilet.
+6 # chapdrum 2015-03-03 00:38
He also brought Bernie Kerik to the nation - the fellow that was to become (iirc) head of DHS, until his past came to light.
+62 # chapdrum 2015-03-02 12:51
Mr. Rich is usually spot on - and he is here. But really, this is not new news. Giuliani should never have been allowed near the mayor's office, just as W shouldn't have been allowed near the Oval Office. Shrug.
+28 # turtleislander 2015-03-02 12:52
Of all the appeals to the right wing constituencies "loving America" is among the looniest. America is a name, a ramshackle collection of ideas imperfectly drummed into millions of brains, usually very young brains. The fact that these ideas vary widely from person to person may save the place in the end. Just as those of us with open and questioning minds may save it. That's of course if our emigration plans dont work out first.
So true. And a long list of these "America lovers" were draft dodgers or worse. They love wars--but neither they nor their kids ever fight in them. All puff. Blatantly sissy puff.
+38 # motamanx 2015-03-02 13:04
Rudy apologized? That's not enough. His actions on 9/11 should be scrutinized.
+16 # AndreM5 2015-03-02 14:28
Don't worry, he didn't apologize at all. Another non-apology apology.
True. Curious that there's little or no interest in scrutinizing 9/11.
-25 # hydroweb 2015-03-02 13:06
The Oscars did a fine job! They had a black person keep an eye on things for the MC and even had MLK stand up to show he could speak the king's english! You had to see to believe...
+15 # kalpal 2015-03-02 13:50
Rudy began his career as a Democrat. When he failed at it, he sank to the level of becoming a Republican where he was adored for being a failed Democrat. Rudy's background as the son of an ex-con mafia soldier never held him back since the RW loves convicted criminals and their offsprings.
+9 # ericlipps 2015-03-02 18:36
Quoting kalpal:
Rudy began his career as a Democrat. When he failed at it, he sank to the level of becoming a Republican where he was adored for being a failed Democrat.
Rudy Giuliani ran for mayor as a Republican not just because he was more ideologically at home in the GOP but also to avoid being swamped in a crowded field of Democratic contenders. He's always been as much cynic as conservative.
+8 # perkinsej 2015-03-02 14:28
Let's face it. His agent told him that he needed to do something dramatic to get media attention and then churn up a few minor speaking engagements. Just good business and nobody really got hurt.
+17 # tclose 2015-03-02 17:40
There was no way of not "getting" what Giuliani was implying, about Obama not being "like us" and "He wasn't brought up the way you were brought up and I was brought up." For shame.
As famously asked during the McCarthy era, "Have you no sense of decency, sir? At long last, have you left no sense of decency?"
+3 # Jayceecool 2015-03-02 23:40
Isn't it disgusting that there are actually apologists for Rudy-the-bozo? Shows you just how far this country has fallen...
+5 # Phillybuster 2015-03-03 16:40
This is the guy who put NYC's emergency command and control center in the Twin Towers - contrary to the advice of almost everyone because the towers had already been hit by terrorists in 1993. He also presided over a city in which the cops and the fire dept. couldn't talk to each other because of incompatible radio equipment. Great job, you America-loving mofo POS!
0 # bingers 2015-03-05 13:28
Isn't Giulaini Italian for creepy?
Pierre Vaux, The Daily Beast
Eric Lutz, Vanity Fair
Andrew Sullivan, New York Magazine
Bob Hennelly, Salon
Mark Joseph Stern, Slate
The Fear, Like the Cruelty, Is the Point
Charles Pierce, Esquire
Trump Is a Racist. If You Still Support Him, So Are You.
Goldie Taylor, The Daily Beast
Farmers' Markets Have New Unwelcome Guests: Fascists
Kelly Weill, The Daily Beast
Paul Krugman, The New York Times


text:
Q: CUDA out of memory when training ConvLSTMD2D model I am trying to use Keras with Tensorflow-GPU to train a 2D convolutional LSTM. The model compiles but quickly runs into out-of-memory errors when it starts training.
The model takes input in the shape of (batch_size, timesteps, 135, 240, 1), where batch_size is the number of videos and timesteps is the number of frames in a video. I lock batch_size to 1 (so one video at a time), though timesteps can vary from 600 to 4,800 frames depending on the video length.
The label shape is (batch_size, time_steps, 9), where 9 is the number of classes the model has to predict values for.
Model Summary
Layer (type)                 Output Shape              Param #
=================================================================
conv_lst_m2d_1 (ConvLSTM2D)  (None, None, 135, 240, 40 59200
_________________________________________________________________
batch_normalization_1 (Batch (None, None, 135, 240, 40 160
_________________________________________________________________
average_pooling3d_1 (Average (None, None, 1, 1, 40)    0
_________________________________________________________________
reshape_1 (Reshape)          (None, None, 40)          0
_________________________________________________________________
dense_1 (Dense)              (None, None, 9)           369
=================================================================
Total params: 59,729
Trainable params: 59,649
Non-trainable params: 80

Device Placement Log
2018-03-28 11:40:16.994858: I C:\tf_jenkins\workspace\rel-win\M\windows-gpu\PY\36\tensorflow\core\platform\cpu_feature_guard.cc:140] Your CPU supports instructions that this TensorFlow binary was not compiled to use: AVX2
2018-03-28 11:40:17.254698: I C:\tf_jenkins\workspace\rel-win\M\windows-gpu\PY\36\tensorflow\core\common_runtime\gpu\gpu_device.cc:1212] Found device 0 with properties:
name: GeForce GTX 970M major: 5 minor: 2 memoryClockRate(GHz): 1.038
pciBusID: 0000:01:00.0
totalMemory: 6.00GiB freeMemory: 5.02GiB
2018-03-28 11:40:17.260611: I C:\tf_jenkins\workspace\rel-win\M\windows-gpu\PY\36\tensorflow\core\common_runtime\gpu\gpu_device.cc:1312] Adding visible gpu devices: 0
2018-03-28 11:40:17.520790: I C:\tf_jenkins\workspace\rel-win\M\windows-gpu\PY\36\tensorflow\core\common_runtime\gpu\gpu_device.cc:993] Creating TensorFlow device (/job:localhost/replica:0/task:0/device:GPU:0 with 4790 MB memory) -> physical GPU (device: 0, name: GeForce GTX 970M, pci bus id: 0000:01:00.0, compute capability: 5.2)
Device mapping:
/job:localhost/replica:0/task:0/device:GPU:0 -> device: 0, name: GeForce GTX 970M, pci bus id: 0000:01:00.0, compute capability: 5.2
2018-03-28 11:40:17.975718: I C:\tf_jenkins\workspace\rel-win\M\windows-gpu\PY\36\tensorflow\core\common_runtime\direct_session.cc:297] Device mapping:
/job:localhost/replica:0/task:0/device:GPU:0 -> device: 0, name: GeForce GTX 970M, pci bus id: 0000:01:00.0, compute capability: 5.2

Terminal Output
If I let it run, the training session continually dumps to STDOUT in the following format:
2018-03-28 11:45:29.748269: I C:\tf_jenkins\workspace\rel-win\M\windows-gpu\PY\36\tensorflow\core\common_runtime\bfc_allocator.cc:665] Chunk at 000000056FD23200 of size 5184000

It also occasionally dumps lines like these:
2018-03-28 11:45:30.203961: E C:\tf_jenkins\workspace\rel-win\M\windows-gpu\PY\36\tensorflow\stream_executor\cuda\cuda_driver.cc:967] failed to alloc 17179869184 bytes on host: CUDA_ERROR_OUT_OF_MEMORY
2018-03-28 11:45:30.209571: W C:\tf_jenkins\workspace\rel-win\M\windows-gpu\PY\36\tensorflow/core/common_runtime/gpu/pool_allocator.h:195] could not allocate pinned host memory of size: 17179869184

I am wondering if the model is too complex or has too many layers for my GPU to handle, or if the input data for a single batch is too large. I have tried training on a GTX 970M with 6 GB of VRAM (shown above), as well as on a GTX 980 with 4 GB. My colleague has also tried running this on a GTX 1080 with 8 GB. The errors persist across all three builds.
Edit 3/28/2018 13:20
I should clarify a few other details. I am training the model using fit_generator, to which I am passing a custom subclass of Keras.util.Sequence. In case it is relevant, here is the source code for my subclass:
class ROASequence(Sequence):
    def __init__(self, x_set, y_set, batch_size):
        self.x = x_set
        self.y = y_set
        self.batch_size = batch_size

    def __len__(self):
        return abs(int(np.ceil(len(self.x) / float(self.batch_size))))

    def __getitem__(self, idx):
        x_paths = self.x[idx * self.batch_size: (idx + 1) * self.batch_size]
        y_paths = self.y[idx * self.batch_size: (idx + 1) * self.batch_size]
        batch_x = []
        batch_y = []
        for xpath, ypath in zip(x_paths, y_paths):
            sample_x, sample_y = unpack_sample(xpath, ypath)
            batch_x.append(sample_x)
            batch_y.append(sample_y)
        batch_x = np.array(batch_x)
        batch_y = np.array(batch_y)
        print(batch_x.shape, batch_y.shape)
        return batch_x, batch_y

Edit 3/28/2018 14:00
In the logs copied above, the CUDA_OUT_OF_MEMORY errors appear alongside warnings like "failed to alloc 17179869184 bytes." That's over 17 GB. What could be the main contributors to this huge memory requirement? Again, my input shape is (batch_size, time_steps, 135, 240, 1), (batch_size, time_steps, 9), where batch_size is set to 1 and time_steps has an upper bound of 4,800. I am not sure how this scales in terms of memory requirements, though, or how the ConvLSTM2D model affects it. Could it be that my Sequence subclass implementation and my use of fit_generator are causing the model to load more than one video at a time?

A: It looks like the problem was an overambitious architecture. I drastically reduced the complexity of my model, so that it looked like this:
Layer (type)                 Output Shape              Param #
=================================================================
conv_lst_m2d_1 (ConvLSTM2D)  (None, None, 135, 240, 4) 736
_________________________________________________________________
batch_normalization_1 (Batch (None, None, 135, 240, 4) 16
_________________________________________________________________
average_pooling3d_1 (Average (None, None, 1, 1, 4)     0
_________________________________________________________________
reshape_1 (Reshape)          (None, None, 4)           0
_________________________________________________________________
dense_1 (Dense)              (None, None, 9)           45
=================================================================
Total params: 797
Trainable params: 789
Non-trainable params: 8

You'll see that I changed my filter_size value for the ConvLSTM2D from 40 to 4.
Furthermore, I clipped my video data to 100 frames per video. Thus, my input shape is now (batch_size, 100, 135, 240, 1), (batch_size, 100, 9).
After making these two changes, the model now compiles and trains without running out of memory. My next step will be to figure out how to modify my Sequence so that it splits each video into 100-frame segments (so that I don't just throw away everything after the first 100 frames). I will also probably use NumPy to downscale my frames, and there are some low-contrast frames that I could cull. However, those problems all exceed this thread's scope.

redpajama_set_name: RedPajamaStackExchange


text:
Anna fu l'ultima sovrana del casato degli Stuart; le succedette un lontano cugino, Giorgio I del casato di Hannover, la cui nonna materna Elisabetta di Boemia era figlia di Giacomo I d'Inghilterra.

Biografia
La vita di Anna fu segnata da molte crisi relative alla successione alla corona. Il padre Giacomo II, cattolico, fu deposto con la forza nel 1688, mentre la sorella maggiore e il cognato (e cugino) divennero regina e re con il nome di Maria II e Guglielmo III. Si ritiene oggi che entrambe le sorelle Maria e Anna soffrissero della sindrome da anticorpi antifosfolipidi su base familiare, causa di frequenti aborti e parti prematuri tanto che, malgrado le numerose gravidanze, né l'una né l'altra furono in grado di generare un erede che sopravvivesse fino all'età adulta. Ciò provocò una crisi di successione, perché in assenza di un erede protestante si temeva che il padre Giacomo II, o il figlio da lui avuto nel secondo matrimonio, tentassero la riconquista del trono.

Per questa ragione nel 1701 il Parlamento approvò l'Act of Settlement, una legge di successione che escludeva tutti i discendenti cattolici degli Stuart, designando di fatto al loro posto il Casato degli Hannover. L'Inghilterra costrinse la Scozia ad accettare questa scelta, giungendo nel 1707 all'unificazione dei due regni con l'Atto di Unione, con cui nasceva il Regno di Gran Bretagna.

Il regno di Anna fu segnato dallo sviluppo del sistema a due partiti che aveva cominciato a delinearsi nel regno di Maria e Guglielmo. Anna personalmente preferiva i tory, ma la sua amica più intima e probabilmente più influente consigliera fu Sarah Churchill, duchessa di Marlborough, moglie di John Churchill, I duca di Marlborough, il più importante condottiero inglese dell'epoca ed esponente di spicco dei whig: tuttavia anch'essa cadde in disgrazia durante la Guerra di successione spagnola.

Primi anni

Anna fu la seconda figlia di Giacomo, duca di York (più tardi Giacomo II) e della sua prima moglie, Lady Anne Hyde, figlia di Edward Hyde, primo conte di Clarendon, un importante politico dell'epoca; sua sorella maggiore era la futura Maria II. Dei figli del primo matrimonio di Giacomo, solo lei e la sorella sopravvissero sino all'età adulta. Anna da bambina soffrì di un'infezione all'occhio: per essere curata, fu inviata in Francia, dove visse prima con la nonna, Enrichetta Maria e dopo la sua morte con la zia, Enrichetta d'Orléans. Anna ritornò dalla Francia nel 1670; nel 1673 fece la conoscenza di Sarah Jennings, futura moglie di John Churchill, uno dei più importanti generali dell'epoca di Anna, la quale sarebbe divenuta la sua più intima amica e una dei suoi più influenti consiglieri.

Verso il 1672, la conversione di Giacomo II al cattolicesimo divenne di pubblico dominio, ma su ordine di Carlo II Anna e Maria furono educate come protestanti. Il 28 luglio 1683 Anna sposò il protestante principe Giorgio di Danimarca, fratello di Cristiano V di Danimarca, un'unione politicamente malvista a causa delle simpatie danesi per la Francia, ma di grande felicità domestica, essendo i due di carattere simile e preferendo una vita tranquilla e ritirata a quella del gran mondo.

Quando Carlo II morì nel 1685 (convertendosi al cattolicesimo sul letto di morte) il padre di Anna ascese al trono con il nome di Giacomo II. Egli fu male accetto per la sua religione e quando la sua seconda moglie, l'italiana e cattolica Maria Beatrice d'Este, gli diede un figlio (Giacomo Francesco Edoardo) il 10 giugno 1688, la sua impopolarità aumentò, poiché appariva certa la prospettiva che una dinastia cattolica avrebbe regnato sulla Gran Bretagna. Ma poco più tardi la sorella e il cognato di Anna, Maria e Guglielmo d'Orange  (che aveva anche sangue Stuart, essendo cugino di primo grado delle principesse), invasero l'Inghilterra per deporre l'odiato Giacomo, che nel dicembre 1688 fuggì in Francia. Questi eventi divennero noti come la "Gloriosa Rivoluzione".

Durante gli eventi immediatamente precedenti la rivoluzione Anna si tenne in disparte; tuttavia mantenne contatti epistolari con la sorella Maria ed era a conoscenza dei piani di invasione di Guglielmo. Dopo lo sbarco di Guglielmo in novembre, Anna si trovò in una posizione critica; probabilmente consigliata dai Churchill, abbandonò il re, lasciò Londra per Nottingham e poi Oxford, dove incontrò Guglielmo. L'anno seguente, un'apposita sessione del parlamento dichiarò che la fuga di Giacomo II equivaleva a un'abdicazione e quindi il trono doveva considerarsi vacante; la corona fu offerta congiuntamente a Guglielmo e Maria, che la accettarono e regnarono insieme. Il Bill of rights del 1689 stabilì la successione: dopo Guglielmo e Maria il trono sarebbe toccato in primo luogo ai figli partoriti da Maria; in mancanza di essi ad Anna e ai suoi discendenti, e successivamente ai discendenti che Guglielmo avrebbe potuto avere da un successivo matrimonio.

Guglielmo e Maria

Poco dopo la loro ascesa al trono, Guglielmo e Maria concessero a John Churchill il titolo di conte di Marlborough; tuttavia nel 1692, sospettando che Lord Marlborough fosse un sostenitore del deposto re Giacomo, la regina Maria lo privò di tutte le sue cariche. Lady Marlborough fu allontanata dalla corte; allora anche Anna lasciò la sua residenza reale per seguire l'amica e fu privata della sua guardia d'onore. Nel 1694 Maria morì di vaiolo e Guglielmo III continuò a regnare da solo. Con l'obiettivo di migliorare la sua popolarità, Guglielmo restituì ad Anna il suo rango a corte e le permise di risiedere nel palazzo di St.James; tuttavia la tenne in disparte e non volle nominarla reggente nei periodi in cui egli era assente.

L'anno successivo Guglielmo, per riconquistare il suo favore, restituì a Marlborough le sue cariche; Anna in cambio gli diede il suo sostegno, anche se in questo periodo scrisse a suo padre chiedendogli il permesso di ascendere al trono alla morte di Guglielmo e promettendogli che al momento adatto glielo avrebbe restituito. Anna fu forse spinta a questo dalla voce (infondata) che Guglielmo avesse intenzione di designare come suo successore il figlio di Giacomo, a condizione che fosse allevato in Inghilterra come protestante.

Tra il 1684 e il 1700 Anna era rimasta incinta almeno diciassette volte; tuttavia per dodici volte abortì o diede alla luce figli nati morti; degli altri cinque figli, quattro morirono prima di compiere i due anni, mentre il quinto, Guglielmo, duca di Gloucester, morì a undici anni il 29 luglio 1700. Poiché Maria e Guglielmo non avevano avuto figli, Anna era la sola erede superstite al trono e questo metteva in pericolo la successione, in quanto, dopo di lei, il ramo cattolico della famiglia avrebbe potuto tentar di approfittare della situazione per recuperare lo scettro perduto.

Per ovviare a tali rischi, nel 1701 il Parlamento approvò un Atto di Successione (Act of Settlement), che, in mancanza di discendenti di Anna o di Guglielmo, assegnava la corona a Sofia del Palatinato e ai suoi discendenti, confermando così l'esclusione di ogni altro pretendente di religione cattolica. Sofia era nipote in linea diretta di Giacomo I attraverso sua madre, Elisabetta di Boemia, figlia di Giacomo stesso. Anna, per parte sua, accettò queste decisioni sulla successione.

Il regno prima dell'Atto di Unione

Guglielmo III morì l'8 marzo 1702 e Anna divenne regina (23 aprile). In questo periodo ebbe inizio la guerra di successione spagnola: in discussione era il diritto di Filippo, nipote del re di Francia Luigi XIV, di succedere al trono di Spagna. Il precedente re di Spagna, Carlo II, lo aveva nominato suo erede per testamento, ma la maggior parte degli stati europei si opponeva, temendo che la famiglia reale francese divenisse eccessivamente potente. Il testamento di Carlo II prevedeva che Filippo dovesse rinunciare a ogni diritto al trono di Francia, ma Luigi XIV stabilì che questa clausola dovesse considerarsi nulla nel caso che i suoi eredi fossero morti.

Questa non era una preoccupazione irrealistica: infatti molti membri della famiglia di Luigi XIV furono uccisi dal vaiolo poco prima della sua morte e fu il suo pronipote Luigi XV che divenne re di Francia all'età di cinque anni. Inoltre l'Inghilterra non gradiva che, dopo la morte di Giacomo II, Luigi XIV avesse proclamato Giacomo (detto il Vecchio Pretendente) re d'Inghilterra con il nome di Giacomo III. Quindi l'Inghilterra sostenne le pretese al trono di Spagna avanzate dall'arciduca Carlo d'Asburgo, il cugino austriaco del defunto Carlo II.

La guerra di successione spagnola (nota in Nord America come "Guerra della regina Anna", la seconda delle guerre franco-indiane) sarebbe durata fino alla fine del regno di Anna, dominando sia la politica interna sia quella estera. Poco dopo l'ascesa al trono, Anna nominò suo marito Lord Ammiraglio, dandogli il comando della marina, e scelse Lord Marlborough come Capitano Generale, dandogli il comando dell'esercito. Marlborough inoltre fu creato cavaliere della Giarrettiera ed ebbe il titolo ducale. Sua moglie fu nominata Mistress of the Robes, la più alta carica a cui una donna potesse aspirare.

All'inizio del regno di Anna il governo presieduto da Sidney Godolphin (all'epoca ancora barone, ma prossimo ad essere nominato conte) era dominato dai tory. I whig (che, a differenza dei primi sostenevano con decisione la guerra) acquisirono una influenza molto maggiore dopo la grande vittoria ottenuta da Marlborough nella battaglia di Blenheim nel 1704. Grazie all'influenza di Marlborough quasi tutti i tory furono rimossi dal gabinetto; tuttavia Godolphin si alleò con Marlborough per garantirsi la permanenza in carica. Anche se Godolphin era il capo nominale del governo, il potere effettivo era esercitato da Marlborough e dai due segretari di stato (Charles Spencer, III conte di Sunderland e Robert Harley). È da notare che sia il figlio di Godolphin sia Sunderland avevano sposato due delle figlie di Marlborough. Anche altri beneficiarono del nepotismo di Marlborough.

L'unione tra Inghilterra e Scozia

Gli anni successivi del regno di Anna furono caratterizzati dai tentativi di fondere l'Inghilterra e la Scozia in un solo regno (i due paesi dal 1603 avevano lo stesso re, ma erano rimasti due stati distinti). Quando aveva approvato l'Atto di Successione nel 1701, il parlamento inglese non aveva consultato quello scozzese, che, inoltre, desiderava la continuazione del casato degli Stuart. Il parlamento scozzese approvò un Act of Security (1704), in base al quale, in mancanza di eredi di Anna, attribuiva a sé il potere di scegliere il nuovo re di Scozia tra i discendenti protestanti della famiglia reale scozzese. Il prescelto non poteva essere il medesimo individuo che sarebbe salito al trono d'Inghilterra, a meno che non fossero soddisfatte svariate condizioni di carattere religioso, economico e politico.

La sanzione della corona (necessaria perché la legge entrasse in vigore) fu inizialmente rifiutata, ma fu concessa quando il parlamento scozzese rifiutò di imporre nuove tasse e minacciò di ritirare le truppe scozzesi dall'esercito che stava combattendo sul continente. Il parlamento inglese, temendo che una Scozia indipendente avrebbe ripristinato l'antica alleanza (Auld Alliance) che essa aveva avuto con la Francia, rispose con lAlien Act del 1705, che imponeva sanzioni economiche contro la Scozia e stabiliva che i sudditi scozzesi sarebbero stati considerati stranieri (mettendo a repentaglio il loro diritto di possedere beni in Inghilterra), a meno che la Scozia abrogasse lAct of Security o si dichiarasse disposta all'unione con l'Inghilterra. La Scozia scelse questa seconda via; le condizioni dell'unione furono negoziate da appositi delegati e il parlamento scozzese le approvò tra molti contrasti il 16 gennaio 1707. In applicazione di queste decisioni, l'Inghilterra e la Scozia, con l'Atto di Unione, si fusero in un solo regno, chiamato Gran Bretagna, il 1º maggio 1707.

I rapporti tra Anna e la duchessa di Marlborough si deteriorarono durante il 1707. La duchessa aveva un cattivo carattere e Anna cominciò a preferirle un'altra sua amica, Abigail Masham, baronessa Masham. Ella era cugina della duchessa e imparentata con uno dei ministri di Anna, Robert Harley, che attraverso di lei accrebbe la sua influenza sulla regina. Tuttavia Lord Godolphin e il duca di Marlborough, rivali di Harley, cercarono di indurre la regina a rimuoverlo e Anna fu costretta ad accettare le dimissioni di Harley nel 1708. Questo periodo fu politicamente dominato da un gruppo di cinque esponenti whig (Lord Sunderland, Thomas Wharton, John Somers, Charles Montagu barone di Halifax e Robert Walpole), detto "Whig Junto". Tuttavia Harley continuò ad avere influenza sulla regina come consigliere privato.

Il marito di Anna, il principe Giorgio di Danimarca, morì nell'ottobre 1708. I capi whig erano insoddisfatti della sua direzione dell'Ammiragliato e alcuni di essi progettarono di richiederne la destituzione mentre egli era morente. Anna fu costretta a cercare il sostegno di Marlborough per impedire questa mossa. Tuttavia, dopo la morte del marito, Anna si allontanò ulteriormente dall'arrogante duchessa di Marlborough, preferendo la compagnia della più rispettosa Abigail Masham e ruppe definitivamente con la duchessa nel 1709.

Ultimi anni

La crescente impopolarità della guerra di successione spagnola fu la causa della caduta dei whig. Robert Harley fu particolarmente abile nello sfruttare lo scontento diffuso per motivare l'elettorato. Il favore dell'opinione pubblica fu spinto ancor di più verso i tory quando il governo whig avviò un procedimento penale contro Henry Sacheverell, un ecclesiastico tory che aveva violentemente attaccato il governo per il suo atteggiamento di tolleranza religiosa. L'intensa reazione popolare contro questa iniziativa fece sì che Sacheverell ricevesse una condanna mite, il che fu un'umiliazione per i whig.

L'elezione del 1710 diede un'ampia maggioranza ai tory; poco dopo, Marlborough e i suoi parenti cominciarono a perdere le loro cariche. Godolphin fu rimosso il 7 agosto 1710; il nuovo gabinetto tory era guidato da Harley e ne faceva parte anche Henry Saint-John Bolingbroke. I tory desideravano porre termine alla guerra, temendo che una vittoria totale per l'Austria, che era il principale alleato della Gran Bretagna, per quest'ultima sarebbe stata altrettanto dannosa di una vittoria francese. Il governo tory era disposto a un compromesso che riconoscesse la corona di Spagna al pronipote di Luigi XIV, ma per i whig ciò era inaccettabile.

Questo contrasto fu risolto dagli eventi sul continente: l'Imperatore Giuseppe I, fratello maggiore dell'arciduca Carlo (il pretendente al trono di Spagna che i whig sostenevano) morì nel 1711; Carlo ereditò quindi l'Austria, l'Ungheria e il titolo di imperatore del Sacro Romano Impero. Se avesse ottenuto anche la Spagna, sarebbe divenuto troppo potente. La Gran Bretagna avviò negoziati con la Francia; Marlborough fu accusato di essersi appropriato di fondi pubblici e richiamato in patria alla fine del 1711; il comando delle truppe britanniche sul continente fu affidato a James Butler, duca di Ormonde, che condusse le operazioni in modo molto meno aggressivo.

Alla Camera dei comuni la schiacciante maggioranza tory era favorevole alla pace, ma alla Camera dei lord la situazione era diversa. Per impedire la conclusione della pace i whig si allearono con un gruppo di tory guidati da Daniel Finch, II conte di Nottingham . Per eliminare la maggioranza whig, Anna reagì con la nomina, senza precedenti, di dodici nuovi Pari in una sola ripresa, il 1º gennaio 1712, assicurando così la ratifica del trattato di pace, concluso a Utrecht nel 1713.

In base ai termini del trattato, Filippo di Borbone conservò la corona di Spagna e le colonie spagnole in America. La Spagna dovette cedere gli altri possedimenti che aveva in Europa; la Gran Bretagna ottenne Gibilterra e Minorca e anche alcune colonie francesi nell'America settentrionale.

Morte
La salute di Anna peggiorò nel corso del 1713. Anna, che già soffriva di gotta, fu colpita da un'erisipela che le causò un ascesso e febbre, conducendola a 49 anni alla morte il 1º agosto 1714. Fu sepolta nell'abbazia di Westminster; il suo cadavere era così rigonfio che dovette essere collocato in una larga bara di forma quasi quadrata. Fu tumulata nella cappella dell'antenato Enrico VII: una semplice lapide la ricorda insieme al principe consorte Giorgio di Danimarca.

L'erede designata dallAct of Settlement del 1701, Sofia del Palatinato, era morta poco prima, l'8 giugno; la corona andò quindi a suo figlio George Louis von Hannover, asceso al trono col nome di Giorgio I. Nonostante avessero il sostegno di una parte dei tory, i pretendenti cattolici, tra cui Giacomo Francesco Edoardo Stuart, vennero ignorati e la successione di Giorgio non fu mai veramente in pericolo. Due sollevazioni a favore degli Stuart, nel 1715 e nel 1719, fallirono.

Gravidanze e discendenza
La regina Anna ebbe almeno diciassette gravidanze, ma solo cinque figli nacquero vivi e nessuno di loro raggiunse l'età adulta.

Figlia nata morta (12 maggio 1684). Sepolta nell'Abbazia di Westminster.
Maria (2 giugno 1685 - 8 febbraio 1687). Nata al Palazzo di Whitehall e morta al Castello di Windsor, di vaiolo. Sepolta nell'Abbazia di Westminster.
Anna Sofia (12 maggio 1686 - 2 febbraio 1687). Nata e morta al Castello di Windsor, morì di vaiolo. Sepolta nell'Abbazia di Westminster.
 Aborto spontaneo (21 gennaio 1687)
 Figlio nato morto (22 ottobre 1687). Sepolto nell'Abbazia di Westminster. Nato morto a Whitehall a sette mesi, ma è riportato che il bambino venne dichiarato morto in utero già un mese prima.
 Aborto spontaneo (16 aprile 1688)
 Guglielmo, Duca di Gloucester (24 luglio 1689 - 30 luglio 1700). Nato a Hampton Court e morto al Castello di Windsor, sepolto nell'Abbazia di Westminster. Le cause della sua morte non sono note con certezza.
 Maria (14 ottobre 1690). Nata e morta al Palazzo di St. James, sepolta nell'Abbazia di Westminster. Nacque a sette mesi e morì dopo circa due ore.
 Giorgio (17 aprile 1692). Nato e morto a Syon House, visse appena il tempo necessario a battezzarlo. Sepolto nell'Abbazia di Westminster.
 Figlia nata morta (23 marzo 1693). Nata e morta a Berkeley House, sepolta nell'Abbazia di Westminster.
 Aborto spontaneo (21 gennaio 1694). Gli storici moderni hanno variamente scritto se si trattasse di un maschio o di una femmina.
 Figlia nata morta (17 o 18 febbraio 1695). Nata prematura.
 Aborto spontaneo (20 settembre 1696). Le cronache riportano che la regina abortì due feti in due giorni successivi: uno di circa sette mesi e uno di circa due o tre, probabilmente il risultato di una gravidanza gemellare interrotta.
 Aborto spontaneo (25 marzo 1697)
 Aborto spontaneo (inizio dicembre 1697). Secondo le cronache, si trattava di due gemelli, probabilmente maschi.
 Figlio nato morto (15 settembre 1698). Nato e morto al Castello di Windsor, sepolto nella Cappella di San Giorgio. Il medico personale della regina scrisse che secondo lui il feto era morto in utero circa 10 giorni prima.
 Figlio nato morto (24 gennaio 1700). Nato e morto al Palazzo di St. James, sepolto nell'Abbazia di Westminster. Nato a sette mesi e mezzo, morto in utero circa un mese prima.

Eredità
Il regno di Anna vide un accrescimento dell'influenza politica dei ministri, a scapito di quella della corona. Anna fu l'ultima sovrana britannica a non concedere l'assenso reale a una legge approvata dal parlamento, lo Scottish Militia Bill del 1708, con il quale veniva ordinata la leva di una milizia in Scozia. Di limitate doti intellettuali e preoccupata dai suoi problemi di salute, Anna permise che la politica fosse dominata dai suoi ministri (specialmente Robert Harley) e dalle sue amiche e confidenti Sarah Churchill, duchessa di Marlborough, e Abigail Masham. Lo spostamento del potere dalla corona ai ministri divenne ancora più accentuato in seguito, durante il regno di Giorgio I, il cui principale consigliere, Robert Walpole, è spesso descritto come il 1º Primo ministro.

L'epoca di Anna vide anche importanti sviluppi in campo artistico, scientifico e letterario. In architettura, John Vanbrugh costruì eleganti edifici barocchi come Blenheim Palace (residenza dei duchi di Marlborough) e Castle Howard. La letteratura vide l'attività di autori come Daniel Defoe, Alexander Pope e Jonathan Swift. Isaac Newton visse durante il regno di Anna, anche se aveva compiuto le sue più importanti scoperte durante quello di Guglielmo e Maria. Il nome di Anna resta legato alla prima importante legge sul diritto d'autore (nota come Statute of Anne, 1709), che concedeva diritti esclusivi agli scrittori piuttosto che agli stampatori. Sotto il suo regno fu inaugurato nel 1711 l'ippodromo di Ascot.

Anna aveva un'inclinazione per il brandy e per questo a volte fu chiamata "Brandy Nan". La contea di Queen Anne, nello stato americano del Maryland, prese il suo nome da Anna, che era regina quando la contea fu creata nel 1706.

Ascendenza

Nella cultura di massa
La figura di Anna di Gran Bretagna è stata ritratta sul grande schermo nel film del 2018 La favorita, del regista Yorgos Lanthimos, dove il personaggio della regina è interpretato da Olivia Colman, che si è anche aggiudicata il Premio Oscar come miglior attrice per la sua interpretazione.

Onorificenze

Note

Bibliografia
 Anne, Queen. (1911). Encyclopædia Britannica, 11th ed. London: Cambridge University Press.
 Benians, Ernest Alfred et. al. (1909). The Cambridge Modern History. MacMillan & Co.
 Bryant, Mark. (2001). Private Lives. London: Cassell.
 Gregg, Edward (2001). Queen Anne. Yale University Press.

Voci correlate
 Giorgio di Danimarca
 Guglielmo III d'Inghilterra
 La favorita

Altri progetti

Collegamenti esterni

Did Queen Anne have a lesbian affair?, BBC, 25 febbraio 2019
 Adolphus William Ward, (ed.). The Cambridge Modern History. Cambridge, England: Cambridge University Press, .

Persone della guerra di successione spagnola
Sepolti nell'abbazia di Westminster
Re d'Inghilterra
Re di Scozia
Re di Gran Bretagna
Stuart
Regine regnanti

redpajama_set_name: RedPajamaWikipedia


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Home Politics and Government Bawumia : Government Reducing The Hardships of Ghanaians
Bawumia : Government Reducing The Hardships of Ghanaians
Vice-President Dr Mahamudu Bawumia has said the government of President Nana Addo Dankwa Akufo-Addo will continue to work assiduously to reduce the hardships and suffering of Ghanaians .
Dr Bawumia , citing examples of how the government has or is reducing the hardship of Ghanaians, said: "We have reduced the suffering of parents who could not pay school fees for their wards with the introduction of Free SHS.
"We have reduced the suffering of teacher trainees by restoring teacher trainee allowances.
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Dr Bawumia continued: "We have reduced the suffering of farmers with the introduction of the Planting for Food and Jobs programmers.
"We have reduced the suffering of many households by reducing electricity bills, the first government in the fourth republic to do so compared to the average annual increases of 45% under the previous NDC government.
"We have reduced the suffering of the disabled with the employment of many in 50% of our toll booths and increasing the share of the District Assembly Common Fund to the disabled by 5O%."
Dr Bawumia further noted that the government has "reduced the suffering of the unemployed generally by recruiting over 350,000 people into the public sector, NABCO has reduced the suffering of 100,000 graduates.
"We have reduced the hardship of getting a passport, now you just fill your forms online, pay with mobile money and you're good to go. You don't have to suffer to get a passport, we have also reduced the suffering of people in obtaining a drivers license by digitising the process" adding that "We have reduced the suffering of importers by reducing import duties by 50% and automating the clearance process."
Dr Bawumia said these on Sunday, 22 December 2019 during the New Patriotic Party's National Delegates Conference held in Accra.
Vice-President Dr Bawumia noted that although the government has not eliminated the suffering of Ghanaians completely its policies have helped to reduce the sufferings of Ghanaians.
He further challenged the main opposition National Democratic Congress (NDC) who is seeking to unseat the NPP in the 2020 polls to make public how they reduced the suffering of Ghanaians during their eight years in office.
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Published in: Journal of Banking and Finance, vol 33, no 11, November 2009, pp 1953-62.
This paper investigates the spillover effects of money market turbulence in 2007-08 on the short-term covered interest parity (CIP) condition between the US dollar and the euro through the foreign exchange (FX) swap market. Sharp and persistent deviations from the CIP condition observed during the turmoil are found to be significantly associated with differences in the counterparty risk between European and US financial institutions. Furthermore, evidence is found that dollar term funding auctions by the ECB, supported by dollar swap lines with the Federal Reserve, have stabilized the FX swap market by lowering the volatility of deviations from CIP.


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Yes, hindsight is always 20-20 and, no, this is not a post to bash Ronald Reagan. The Reagan administration certainly did what they had to do and they managed the challenges presented at the time. What they could not see were the consequences of their actions as they were unintended.


text:
BAAGHI 3 – Movie Review
Awesome TV · March 06, 2020 · Movie Reviews · 0 comments
By Arun Sajnani
BAAGHI 3 – Tiger Shroff is considered now a bonafide action hero in Bollywood. With "BAAGHI 3", he excels in this solid action thriller, and he gives a sincere performance in this third installment. It is another episode with a different plot. It is not a continuation from the last one, or the first one.
Yes it is a Masala potboiler from director Ahmed Khan, and this time he against one nation – Syria. It is a bit over the top to expect. But the real story is about a younger brother named Ronnie, played by Tiger, has made a promise to his dad, that he will always be there for the family, and protect his older brother Vikram, played by Ritesh Deshmukh from, bad situations, and bullies, including terrorists from Syria. When big brother is abducted from a cop mission from Syria, it is up to Tiger Shroff to come and settle the score,
This young "Rambo", and the influence of "Tiger Zinda Hai", makes this story very deja-vu and predictable. Shraddha Kapoor as the lead actress is just average as usual unfortunately. The film's action is great, but with the wafer-thin plot, it makes me annoyed at Bollywood by churning out yet again, a half-baked product, and then as a result it becomes an average affair. The film gets a 2 and a half star recommendation. Courtesy Awesome TV & BEING FILMY.
bollywoodmovie reviews
Kareena Kapoor – Angrezi Medium
Kareena Kapoor - Angrezi Medium
Aamir Khan To Play Osho In His Next?
Judwa-2 Trailer out !
August 21, 2017 · 0 comments
Judwa-2 Trailer out !!
Sonu Sood joins the 'Simmba' gang!
Sonu Sood joins the 'Simmba' gang!


text:
Il venaticosuco (Venaticosuchus rusconii) è un rettile estinto, appartenente agli arcosauri. Visse nel Triassico superiore (Carnico, circa 225 milioni di anni fa) e i suoi resti fossili sono stati ritrovati in Sudamerica (Argentina).

Descrizione
Questo animale è noto per un esemplare incompleto, comprendente un cranio incompleto, una mandibola completa, parte della zampa anteriore e alcuni osteodermi. Dal raffronto con alcuni animali simili meglio conosciuti (Riojasuchus, Ornithosuchus), è possibile ipotizzare l'aspetto di Venaticosuchus: doveva essere un animale lungo circa 2 metri, con un cranio di quasi 30 centimetri. Si suppone che le zampe posteriori fossero molto più lunghe di quelle anteriori. Il corpo era ricoperto da una doppia fila di piastre ossee (osteodermi) lungo il dorso e la coda. I denti erano seghettati, e ogni mascella portava due grandi denti simili a canini. Il cranio era dotato di un muso dalla punta rivolta verso il basso.

Classificazione
Venaticosuchus, descritto per la prima volta nel 1970 da José Bonaparte, sulla base di fossili ritrovati nella parte superiore della formazione di Ischigualasto, nella zona di Agua de Las Catas. Venaticosuchus è considerato un rappresentante degli ornitosuchidi, un gruppo di arcosauri primitivi tipici del Triassico, caratterizzati da un insolito tipo di articolazione della caviglia. Nella stessa zona sono stati ritrovati i resti di un silesauride, Pisanosaurus.

Bibliografia
Bonaparte, J. F., 1970, Annotated List of the South American Triassic Tetrapods: Second Gondwana Symposium South Africa, Proceedings and Papers, p. 665-682.
M. B. Von Baczko and M. D. Ezcurra. 2013. Ornithosuchidae: a group of Triassic archosaurs with a unique ankle joint. In S. J. Nesbitt, J. B. Desojo, R. B. Irmis (eds.), Anatomy, Phylogeny and Palaeobiology of Early Archosaurs and their Kin. Geological Society, London, Special Publications 379
Baczko MB, von Desojo JB, Pol D. 2014. Anatomy and phylogenetic position of Venaticosuchus rusconii Bonaparte, 1970 (Archosauria, Pseudosuchia) from the Ischigualasto Formation (Late Triassic), La Rioja, Argentina. J Verteb Paleontol. 19;34,6:1342–1356.

Collegamenti esterni

Ornitosuchidi
Taxa privi di autore di classificazione


text:
Q: NavBar overlaps Status Bar in iOS 13 Swift In some devices as iPhone 7 and 8 the navigation bar overlaps status bar after do navigating, the parent view controller has status bar hidden but I show and hide it in viewWillAppear and viewWillDisappear respectively. I tested in iOS 12 and it works.
I am using prefersStatusBarHidden to hidden the status bar.
Here the Image
Navbar Overlaps Status bar
Update:
Here an example project: https://github.com/FranklinSamboni/NavBarTestSwfit.
It work fine in iOS 12 but with iOS 13 the navigation bar overlaps status bar in iPhone 7,8
Images with iPhone 8 (simulator)
Home
The second view
Second View

A: Okay, I'm going to give one of those wishy-washy answers.

*

*On the one hand, you've definitely found a new behavior in iOS 13. When you hide the status bar, the navigation bar shrinks. You could term this a bug in iOS 13...

*On the other hand, it could be argued that what you are doing is wrong. If you have a navigation bar, you already cannot hide the status bar on a device without a bezel (iPhone X etc.), and now Apple seems to be assuming that if you have a navigation bar you won't hide the status bar at all. And that is a reasonable assumption, because it makes no sense to hide the status bar in portrait when there is a navigation bar, and especially in some children of the navigation controller but not others.
So you could file a bug report on this, but I don't think you'll get any joy from it. Apple is likely to reply that this is intended, or is at least a consequence of doing something they don't want to support. You have a navigation bar; allow the status bar to show.

A: I faced the same problem, after a few hours research, I found a not perfect but worked solution. Hope it will work for you.The code was written with Objective-C.
In viewDidAppear method of the secondViewController, hide statusBar first and show it at once.

*

*Declare a member variable BOOL statusBarHidden in secondViewController

*Implement prefersStatusBarHidden method from UIViewController
 - (BOOL)prefersStatusBarHidden
 {
     return statusBarHidden;
 }

*Create a new method setStatusBarHidden
 - (void)setStatusBarHidden:(BOOL)hidden
 {
     if (statusBarHidden != hidden)
     {
         statusBarHidden = hidden;
         [self setNeedsStatusBarAppearanceUpdate];
     }
 }

*Call setStatusBarHidden in viewDidAppear
- (void)viewDidAppear:(BOOL)animated
{
    [super viewDidAppear:animated];

    [self setStatusBarHidden:YES];
    [self setStatusBarHidden:NO];
}


text:
Mary Borman [Loud]
William Borman at All Saints Church in the Parish of Maidstone, Kent
David Boorman's records
William in the Parish of Lamberhurst, Kent and Sussex
James in the Parish of Lamberhurst, Kent and Sussex
Mathias (Matthew) in the Parish of Lamberhurst, Kent and Sussex
In the Parish of Lamberhurst, Kent and Sussex; widow
after 19th May 1784
At St Mary's Parish Church in the Parish of Lamberhurst, Kent and Sussex
No ancestor's report
Descendent's report
Boorman, Boreman, Borman, Bourman, Bourdman family records
Loud, Loudan individual records
The ancestral pedigree of Mary Borman [Loud]
William Borman m: 25th Apr 1732 All Saints Church, Maidstone, Kent Mary Loud
d: 24th Dec 1765 Lamberhurst, Kent and Sussex
bur: after 24th Dec 1765 St Mary's Parish Church, Lamberhurst, Kent and Sussex b: c 1710
d: 19th May 1784 Lamberhurst, Kent and Sussex, widow
bur: after 19th May 1784 St Mary's Parish Church, Lamberhurst, Kent and Sussex
William James Mathias (Matthew)
b: 1734 Lamberhurst, Kent and Sussex
d: May 1815 Wadhurst, Sussex, aged 81 years
bur: 22nd May 1815 St. Peter and St. Paul Parish Church, Wadhurst, Sussex b: 29th Feb 1736 Lamberhurst, Kent and Sussex
d: 6th Jan 1815 b: 1738 Lamberhurst, Kent and Sussex
d: 23rd May 1812 Wadhurst, Sussex, aged 73 years
bur: 26th May 1812 St. Peter and St. Paul Parish Church, Wadhurst, Sussex


text:
Q: Mac install command line tools for xcode with iOS SDK I'm trying to install the XCode Command Line Tools so that I can build a library for iOS from the command line.
The entire process from installing the tools to building the library needs to be able to run from the command line for automation.
I've managed to get the command line tools installed, however once they're installed, in /Library/Developer/CommandLineTools/SDKs I only have MacOSX.sdk and MacOSX10.13.sdk.
In order to build the library, I need iPhoneOS.sdk, which I cannot figure out how to get installed.
How would I go about doing this while still being able to wrap automation around it?

A: Not sure if this is still relevant, but here's where you can find your iPhone SDK. It's not part of the command line tools. It is part of the XCode package.
/Applications/Xcode.app/Contents/Developer/Platforms/iPhoneOS.platform/Developer/SDKs/iPhoneOS.sdk/


Just minutes from Covent Garden and the Thames, the hotel has been welcoming guests since 1909. Beneath today's contemporary décor guests will find fascinating stories and some original Art Deco touche .The Hotel has a choice of six in-house bars and restaurants The rooms range from Cosy singles, perfect for a short stay, to spacious air-conditioned Executive rooms. Every room features Wi-Fi, flat-screen TV, complimentary bottled water and Anyah toiletries, while executive suites add sophisticated touches such as in-room Nespresso™ machines and iPod docks. Gym (available to guests aged 16+), accessible rooms, meeting rooms (up to 250 pax), pets not allowed.
Close to Trafalgar Square and Buckingham Palace. Hotel is located 1km from Trafalgar Square and 1,5km from Shopping area Regent Street. The airport LHR is 32km.


Posted in Photo-a-Day.	Tagged fmsphotoaday, fourthings, photoaday.
Something purple – hard for me to find, as there isn't much purple in my surroundings. But these flowers are blooming all over moms fields.
Posted in Photo-a-Day.	Tagged photoaday, purple.


I am a Lead Developer at ThoughtWorks. As a UI Specialist, I am passionate about modern user interface technologies and methodologies, especially the overlap with Experience Design. As a Tech Lead, I look for ways to streamline my team's development process so that we can deliver better software faster.
I'm based in Chicago, and when I'm not coding I am probably climbing, snowboarding, exploring my amazing city, or galavanting around the world.


I have a Tomcat application that uses MySQL, and Hibernate for ORM. The nature of our application demands that we have to pull and aggregate a lot of analytics data from a NoSQL store for each request , so we split the pulling and aggregating for each request into several tasks and delegate those to a thread-pooled executor service.
When each thread performs a task, it needs to query / update MySQL regarding certain things so it borrows Hibernate sessions from C3P0 ( which we use for connection pooling ).
The last packet successfully received from the server was 665,943 milliseconds ago.  The last packet sent successfully to the server was 6 milliseconds ago.
2013-01-27 20:19:00,179  WARN [Thread-0] (NewPooledConnection.java:487) - [c3p0] Another error has occurred [ com.mysql.jdbc.exceptions.jdbc4.CommunicationsException: The last packet successfully received from the server was 1,326,037 milliseconds ago.  The last packet sent successfully to the server was 660,100 milliseconds ago. is longer than the server configured value of 'wait_timeout'. You should consider either expiring and/or testing connection validity before use in your application, increasing the server configured values for client timeouts, or using the Connector/J connection property 'autoReconnect=true' to avoid this problem. ] which will not be reported to listeners!
com.mysql.jdbc.exceptions.jdbc4.CommunicationsException: The last packet successfully received from the server was 1,326,037 milliseconds ago.  The last packet sent successfully to the server was 660,100 milliseconds ago. is longer than the server configured value of 'wait_timeout'. You should consider either expiring and/or testing connection validity before use in your application, increasing the server configured values for client timeouts, or using the Connector/J connection property 'autoReconnect=true' to avoid this problem.
I thought C3P0 wasn't evicting stale connections frequently enough, so that during heavy load a connection would be returned to the pool, go stale and be borrowed again before eviction. So I created a c3p0.properties file and set "c3p0.testConnectionsOnCheckout" to true so that no stale connections would be borrowed from the pool. I got the same error again.
I figured that since my hibernate sessions are configured with session-context "thread" , sessions used by a thread aren't released until a transaction is committed or rolled back [ http://docs.jboss.org/hibernate/orm/3.6/javadocs/org/hibernate/context/ThreadLocalSessionContext.html ] . So the only explanation I have is that the executor threads make read-only DB calls where there's no committing going on , and once the task is done, the thread returns to the pool , holding the session with it.
What should I do here ? Our application has hibernate querying code inside Data-Access-Object classes, one for each kind of bean. I wish to avoid having to change each and every method in those classes that makes read-only DB calls so as to have them "commit" unnecessarily. I also wish to minimize the changes to the business logic of our app.
Is there a way I can check for the freshness of the session returned by sessionFactory.getCurrentSession() each time a Data-Access-Object is declared / used (all Data-Access-Object classes inherit a few things from a single base class, so I can change things in that base class constructor) , and maybe return stale sessions to the pool ? Or is there a better way to do it ?
NOTE: the below is based on an Oracle example, but can be modified for MySQL.
Having said that, the following config using just C3P0 worked for me as well, but I now prefer Tomcat managed connections as they can be shared between the apps on my Tomcat server, which is desirable in my case.
Not the answer you're looking for? Browse other questions tagged java mysql hibernate c3p0 connection-timeout or ask your own question.
What's the cause of (and treatment for) this java MySQL exception?
How to configure Hibernate to use DBCP2 Connection Pooling?


text:
IPILOGUE
IPILOGUE EDITORS
GOWLING WLG PRIZE
IPIGRAM ARCHIVE
INNOVATION CLINIC
IP INTENSIVE
IP LAW & POLICY
IP WRITING CHALLENGE
A Little Girl Talk on Copyright
June 26, 2012 in Copyright Reform0by Editor
Brett Gaylor's 2008 documentary RiP!: A Manifesto is, at heart, a defence of his "favourite band", Girl Talk. It is therefore unsurprising that it does not appear to be a balanced look at the state of copyright law today, but rather a one-sided picture of current copyright law. Nonetheless, it succeeds in raising some interesting questions: What should the future of copyright, patent, and other forms of intellectual property look like? How does the impulse to create get expressed in a world where you must be careful of stepping on toes? Should there be a difference between for-profit, and not-for-profit uses of copyright? At the same time, Gaylor seemingly sidesteps the most interesting question (though the film dances around it throughout): How can we balance a copyright holder's need or desire to profit from that content with others' ability to make appropriate use of that content (and what do we really consider appropriate use)?
Four years later, there are still no final answers to these questions; Girl Talk is still producing music with no lawsuits in sight. Girl Talk has also recently released a "feature-length dance music video" called "Girl Walk All Day" which is being screened at locations across the U.S., but can also be viewed free, in its entirety, on the Girl Walk All Day website. There's no clear copyright information with respect to the film itself, but the album that is its soundtrack is clearly labeled under the Creative Commons copyright: what is calls an Attribution Noncommercial license. The intent of this type of license (worded in plain English) is that a user can make use of All Day, as long as she does not profit from it (i.e. use it for commercial purposes). This means that either Gregg Gillis (who is Girl Talk) or his record label, Illegal Art is distinguishing personal use – presumably not-for-profit – from commercial use.
Though this license allows distribution and sharing of the album, this line in the sand lines up remarkably well with the language common to copyright infringement suits, where the key point being made tends to be that the profit to be gleaned from copyrighted material should be reserved for the copyright holder, regardless of how their material is being used.
The core of Gaylor's argument did not depend on the availability for profit, only the availability to exercise one's creative impulse. At the time of the documentary, Gregg Gillis had a day job. Since that time he's been able to quit and, presumably, to support himself via his music. Though the impulse likely wasn't motivated by the potential profit, nonetheless, the availability of profit allows a greater focus on the creative impulse. This characteristic is likely common to creators of copyrighted content: whether or not the creation is motivated by its potential profitability, this possibility plays a large role in allowing the time for continued acts of creation.
Hayden McGuire is a JD Candidate at the University of Saskatchewan, Faculty of Law.
Hayden McGuire (IPilogue Editor)
What's the Value in a Broadcast Signal?
CARFAC and the Artists' Resale Right (Where does it end?)
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This revolutionary Monocrystalline Sapphire bracket will forever change the way you look and think about clear brackets. The beauty of the ClearViz+ Mini is that will you give up nothing in treatment and gain the patient satisfaction of using a crystal clear bracket. The endless features of ClearViz+ Mini include; the superior strength and clarity of Monocrystalline Sapphire, Plasma silica coating for superior sliding mechanics and slot strength, 30% smaller size with perfectly rounded edges for uncompromising patient comfort, infinite bond strength throughout treatment, and the perfection of minimal fracture during debonding. As you can see, there is no equal to the ClearViz+ Mini in aesthetic orthodontic treatment.


When it comes to finding a Disney World resort, you will be presented with a healthy range of choices. For those on a budget, the value-priced Orlando Disney resorts will prove most ideal, while those with more to spend might look to the deluxe resorts, many of which offer spacious villas as lodging options. If you can't quite swing the rates at the more expensive Disney resorts in Orlando, there are a handful of mid-priced choices to select from as well. Whether you are coming with kids, are going it alone, or find yourself traveling with that special someone, there's a Disney World resort that's ideal for you, so find yours today and treat yourself to that Orlando getaway that you've been thinking about.
Pretty much all of the hotels in Disney World are resorts, so those who want the Disney resort experience won't want for lodging options. As mentioned, the Orlando Disney resorts vary when it comes to rates, so you can choose accordingly depending on your budget. For those who are tight on travel funds or who just want to save their money for other things like tours or shopping, the value-priced Disney resorts are a wonderful way to go. Among the discount Disney World accommodation choices are the Pop Century Resort, the All-Star Movies Resort, the All-Star Music Resort, and the All-Star Sports Resort. These resorts all revolve around a main theme, so you can pick according to your personal tastes and preferences. At the Pop Century Resort, twentieth-century pop culture is the theme, while Disney movie characters are the main source of inspiration for the All-Star Movies Resort. Musical icons and top songs of decades past are the focus at the All-Star Music Resort, while sports fans will feel more at home at the All-Star Sports Resort. As if there wasn't already a ton of fun things to do in Orlando, and Disney World for that matter, these value-priced resorts do well to provide a nice list of activities for their guests. Each boasts more than one pool, an arcade, a playground or two, and more. In addition to offering in-room pizza delivery, these discount Disney resorts also feature quick-service eateries, so you can dine onsite to meet your needs.
While a fair amount of amenities can be found in the clean and comfortable guest rooms at the value-priced Orlando Disney Resorts, those looking for a step up can always book a stay at one of the mid-priced resorts. If a mid-priced Disney World accommodation is your aim, you can start by looking at the Disney Port Orleans Resorts, one of which is in Walt Disney World's French Quarter, the other of which is found in the Riverside area. You'll enjoy a New Orleans-related experience at both of these resorts, but if it's something more natural that you're after, you might prefer Disney's Fort Wilderness Resort. Not only do the cabins at the Fort Wilderness Resort feature full kitchens and plenty of other amenities, but they also have you close to walking and horseback riding trails. At Disney's Coronado Springs Resort, the theme is related to the American Southwest and Mexico , while Disney's Caribbean Beach Resort is more akin to something that you might expect to find in the Caribbean. The rooms, the services, and the overall amenities at the mid-priced Orlando Disney resorts are more impressive than they are at the lower-priced options, and among the extras that you'll enjoy are limited room service, Wi-Fi internet access, and increased dining choices. Guests at both the value-priced and the mid-priced Disney Resorts in Orlando can use complimentary busses to get around the Walt Disney World area.
When it's top-of-the-line comfort and service that you are looking for when it comes time to choose a Disney World resort, you will again be presented with a number of options. Disney's Grand Floridian Resort and Spa, which is located in the Magic Kingdom area, is the most luxurious Disney World accommodation offering, and not far behind it in price and amenities are Disney's Boardwalk Inn, which carries an Atlantic City theme, and Disney's Beach Club Resort, which aims to mimic a beachfront resort in New England. Nature-lover's will probably opt for a stay at Disney's Animal Kingdom Lodge, which sits on 33 acres of wildlife preserve, or they might take to Disney's Wilderness Lodge, where the theme revolves around the great National Parks of the American West. Other deluxe Disney resorts include Disney's Contemporary Resort, Disney's Polynesian Resort, and Disney's Yacht Club Resort. In addition to upscale rooms, a full range of facilities, and excellent service, those staying at a luxury Disney World Resort will also enjoy increased transportation options and added dining establishments. For those who want added space when it comes to booking a stay at one of the Disney deluxe resorts, those that feature villas include the Animal Kingdom Resort, the Beach Club Resort, the Wilderness Lodge, and the Boardwalk Inn. You can also find villas for rent at the Old Key West Resort and the Saratoga Springs Resort and Spa, which are the remaining choices for deluxe Disney World resorts. Other resorts in Orlando are available as well if you want the resort experience during your Orlando vacation, and it never hurts to check them out as well.


text:
Colin Barnett unable to predict when state's debt level will peak, 'not a clairvoyant'
Seventeen people have died from COVID in NSW. There are 2,776 people in hospital, 203 in ICU. There were 29,504 new COVID cases, 17,646 detected via PCR tests
By Andrew O'Connor
Posted Thu 23 Apr 2015 at 8:33am Thursday 23 Apr 2015 at 8:33am Thu 23 Apr 2015 at 8:33am
Colin Barnett said the state would be in deficit this year even if major projects were not underway. (ABC News: Andrew O'Connor)
abc.net.au/news/barnett-unable-to-say-when-debt-will-peak/6416772
Western Australia's Premier Colin Barnett has told Parliament he was "not a clairvoyant" and cannot predict when the state's debt level will peak.
The State Government's mid-year economic review released in December showed state debt would climb from $20.8 billion in 2014 to $30.9 billion by June 2018.
The Government has been criticised by ratings agencies for failing to take adequate measures to constrain spending growth and reduce debt.
The Premier was asked by shadow treasurer Ben Wyatt to nominate the year in which debt would peak.
Mr Barnett said he could not.
"To do that, I would have to know what the iron ore price in particular, and the oil price would be next year," he said.
"...What assumptions do you want? The price is going to go up or the price is going to go down? I'm not a clairvoyant."
The Premier has told Parliament even forgoing the billions spent on major projects like public hospitals and infrastructure would not have stopped the state budget plunging into deficit this year.
The state budget will record a deficit of more than $2 billion this year.
Mr Barnett said it was legitimate to question the level of state debt, but he said the deficit - the gap between recurrent revenue and expenditure - was unavoidable because falling GST revenue and falling iron ore royalties had left the Government with no other option.
"If the Federal Government, through the GST arrangements is taking $3.7 billion off us, if iron ore prices have falling from $160 to around $50 or less, then there is no circumstance in which this state could have avoided a deficit," he said.
He said that would have not changed, even if the Government had not proceeded with projects like the Fiona Stanley Hospital, the Perth Children's Hospital, Elizabeth Quay and the new stadium at Burswood.
"Even if we had not done all of those things," Mr Barnett said.
"Let's assume we hadn't done them so we'd done nothing, like the Labor government. Would we be in surplus or deficit this year? We'd be in deficit.
"You can criticise us if you wish, on the level of debt, and that's what I acknowledged to the media yesterday.
"But you cannot criticise us on the deficit incurred this year because there is no circumstance at all, under which that could be avoided."
Posted 23 Apr 2015 23 Apr 2015 Thu 23 Apr 2015 at 8:33am
State and Territory Parliament
Posted 42m ago 42 minutes ago Sun 16 Jan 2022 at 9:49pm
'I felt like dropping out': Chelsea never thought she'd attend university


A simple and effective way to teach children to pray scripture.
Almost every night that I walked into my mom's room to kiss her goodnight I would find her knelt down beside her bed.
If I could paint a picture of her, it would be this image of her faithfully at her bedside lifting up the world from a little corner of her room.
Without me knowing my prayer life has been carefully and intricately knitted together since my childhood. It's what gives me hope and has kept me close in the most traumatic times of my life.
As a child, I had no idea the impact this would have on me later in life. Nor did I realize the foundation I was laying as I sat on my bed and talked to God every day after school.
I spoke to him as if he was my best friend.
As if he was sitting right there in person next to me.
Sometimes He just listened to my tween girl ramblings other times he gently guided me.
More often than not he just held me as I cried.
Since then my prayer life has become the bedrock of my faith. When I get caught up in the busyness of life and don't make time to deeply connect with Him, my soul literally yearns for conversations with my Savior.
My boys are young so they are still learning and discovering the power of prayer. But don't let this keep you from teaching your children how to come before Jesus. This is the perfect time to open their eyes to the beautiful connection they can have with our Savior through prayer.
My hope is for my children to also experience the deep abiding connection I have with my our Heavenly Father. We've taught them how to pray, we've tried modeling it but prayer is such a personal thing for me that I really have to work hard on doing it in front of them. Recently I taught them my love for praying scripture.
Now my heart desire is to share it with you so you can ignite your own prayer life. I want to encourage you to continue modeling it to your children and teach them how to connect with God.
What I did to start teaching my children how to pray scripture was I jotted down a few scriptures that are relevant to our boy's ages and stages of life. Then I put them in a jar so they could easily grab them in the morning or throughout the day. This activity started with us preparing our hearts for Easter in prayer, I loved it so much we are now continuing this just not as structured.
I have the jar of verses out around the dining room area for them to use throughout the day or at night when we say our nightly prayers.
Read the verse you picked out loud. Then personalize the verse. Read your personalized verse out loud.
I can be strong and courageous. I do not need to be afraid or discourage because God is with me wherever I am.
Example: Sweet Jesus, Sometimes I am afraid. Help me remember I can be strong and courageous. I do not have to be afraid or discouraged because you are with me wherever I go.
My parents did not sit down and teach me the basics of prayer using the ACTS method like I have with my children. Instead, they did something more powerful. My parents modeled prayer to me.
My father would wake us up early in the morning so we could pray as a family and sometimes together with other families. My mother, she was a prayer warrior. I would find her knelt down beside her bed at night pleading for the world, for those around her and whatever else God put on her heart.
Honestly, as a child, all of this stuff drove me nuts. The long prayers from my mother that would keep us on our knees longer and the early morning wake ups.
But my parents didn't stop or change what they felt was important in their faith journey. So by the time I was 10 years old, in my childlike faith, — I simply believed in the power of prayer. No one had explained to me the 5 basics of prayer. Nor the complexity of the trinity. I didn't go to church every day. I didn't even know how to read my Bible.
I simply believed he listens to me.
I believed he cares about me.
I believed he is real.
I believe with all of my heart this deep abiding connection I have with my Savior is not something only a few children of God experience. As children of God, we ALL have access to Him in prayer.
My prayer life is strong because of the trials I experienced since my childhood and as an adult, but I wouldn't trade it for anything. It's one of the greatest gifts my parents gave to me!


LG Electronics has announced that the company's future home appliances, consumer electronics and services that utilize artificial intelligence will be covered under a new sub-brand called LG ThinQ.
"Our new ThinQ platform for LG's intelligent products is the latest way that LG is delivering innovations that make consumers' lives easier and more enjoyable," said David VanderWaal, vice president of marketing for LG Electronics USA.
"LG ThinQ enables deep learning technology and connectivity across household products, delivering even greater capabilities and convenience."
The company say that ThinQ products and services will all have the ability to employ deep learning and communicate with one another to make consumers' lives easier, utilizing a variety of AI technologies from other partners as well as LG's own AI technology, DeepThinQ.
The first products to fall under the brand are expected to be on display at the upcoming CES 2018.
Some of LG's older smart appliances used to be group under a similar-brand, called Smart Thinq. However, this new brand seems closer in line to what Samsung are pursuing with their own Bixby 2.0.
Locally, LG Australia says that "Availability, pricing and specifications for Australia have yet to be determined. More information will be provided as it becomes available."


Illustrator Kiri Østergaard Leonard gets advice from top artists on making a career out of art.
Over the course of the last year Kiri Østergaard Leonard has interviewed illustrators and artists about their careers for her website. These interviews are not only a wealth of information but also a very honest look into what it takes to make it as an illustrator working in Fantastical Arts.
Winona Nelson has worked for Magic: the Gathering and Warhammer Black Library among other. She was one of the first illustrators I interviewed and she really hit the nail on the head with this one.
So many young illustrators wonder why they don't get hired by companies. Here's the plain truth: You HAVE TO BE BETTER than their current artists, otherwise there's absolutely no reason for the art directors to take a chance on you, when they already have a great artist who they know will do the job well.
Terese Nielsen is well known for her stunning Magic the Gathering illustrations, she's someone I greatly admire so I was thrilled to interview her.
She makes an essential point here. Especially students tend to put everything and anything in their portfolio. Don't do this! Trim it down. You'll be judged on the weakest piece, so your weakest piece better be really good to get hired.
Lisa Hunt is iconic in the tarot illustration realm. She has been in the industry for a very long time and knows what she's talking about. Her advice really hits home; there is a lot of frustration involved in being an artist - making art is hard! But it shouldn't make you miserable; if it does you need to change it up.
04. Learn to say "No"
"Finding who you are as an artist is being able to say no. I think one of my biggest obstacles is one a lot of young artists share: We want to do anything and everything. But that is deadly to progress. Whether it's recognizing that the things you love aren't necessarily the things you should do, or saying no to most paths in order to follow just one.
This is a bit of a mouthful but it is important. Kristina Carroll is the driving force behind the Month of Love drawing challenge and has done work for Wizards of the Coast among others. Saying no is perhaps one of the hardest things to do, but the sooner you find direction the better. It just helps all the little puzzle pieces fall into place.
Cynthia Sheppard is not only an incredible illustrator; she was also recently hired as art director for Wizards of the Coast. I love this piece of advice. At the end of the day art is a personal thing and you have to find love in it to keep at it. When you can find that love and bring it into the work, it elevates your art and even better it feeds your soul.
Kiri Østergaard Leonard is an illustrator with a flair for the quirky and whimsy. Her artwork reflects a passion for the world of fairies, a deep interest in fairy tales as well as an inherit fondness of Nordic myth and folklore.