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Posts Tagged 'Office of Naval Intelligence'
Interview Transcript – US Navy Spies Learned of Nazi Alliance with Reptilian Extraterrestrials
April 4, 2016 Inteviews, Space Programs
What follows is the transcript of William Tompkins responding to questions on the second ExoNews TV episode (see above) presenting his testimony.
Interview Date: February 25, 2016
Published on ExoNews TV – 4/4/16.
Interview Key:
WT: William Tompkins
RW- Dr. Robert Wood
MS – Dr. Michael Salla
[For introductory comments and video analysis click here]
MS – In an exclusive interview with ExoNews TV conducted in San Diego on February 25, Tompkins for the first time publicly revealed the role of Reptilian extraterrestrials in Nazi projects. The following interview extract features Tompkins answering questions from Dr. Robert Wood and myself.
WT – The fact that the Germans were given this information from the Reptilians. They set up the program, they designed the program to support Germany, and they are giving Germany the UFOs.
RW – Was this an alleged fact in any of the briefings you delivered?
WT – Yes….
MS – How did the Navy spies learn about the [Reptilian] extraterrestrials helping the Nazis? Did they see Reptilians, did they read briefing documents, or did they hear chatter among the German scientists about the Reptilians, how did they learn about that?
WT – OK, the SS had many separate classified meetings, get-togethers, whatever. They formed an organization, a little bit like signing this thing over here when we first started talking [Memorandum of Understanding]… The SS then interprets this into a whole series of programs, and this then is disseminated through their specific military communication, whether it's a major effort, or something that's off on the side. All of this is documented and put together.
Now in addition to that, they had, if you want to call them, "consultants", who are Reptilian consultants assisting on all of these different things that it takes to design and build these spacecraft carriers, and propulsion systems. So this is an extremely well developed program and documented like crazy. Getting copies of the documents was hard for them, hard for our spies. This was an open program in the upper level of the SS.
RW: It was compartmentalized.
WT: It was completely compartmentalized. It was well known there. People who had to do the work, had no knowledge at all of what it was for. They had to go do it, and so I guess it's a little bit like a company that has the engineers do their effort, and then supplies are gained. You get all the supplies to build it, and then you have people build it. Only the very tip of the top have the knowledge of what this thing is even for. So that guy is working with a Reptilian. His group is working with Reptilians. They are doing, making sure that the engineering is engineered in a way to accomplish this thrust effort or this propulsion system.
MS: So the Navy spies reported back on what they had seen, or whatever documents they had retrieved, and that this was their conclusion that agreements had been reached with Reptilians, and Reptilians were acting as consultants with some of the Nazi SS compartmented programs.
WT: Even more than that. One of the packages that I got had a statement type thing. I don't know how he got a hold of it. It was not the original agreement between the two countries, the extraterrestrials and Germany, but it alluded to this. You don't have many of those around. There was this tremendous program to, which the operatives got into, where there were university type facilities where hundreds of thousands, of even Russian girls, were brought into these facilities. Certain groups of the troops would get them pregnant, and this program was then to come out with massive numbers, the reason I'm saying this is because it takes a long time to have a baby, and so you are not planning to win the war next week, but that part of their program was set up and structured to parallel a Reptilian battle group program to go to other star systems' planets, and do the same thing that Germany was going to do to Europe, and to this planet.
Which is, in other words, it wasn't just taking over the United States and killing some Jewish people
RW: They were going to do it again throughout the galaxy?
WT: Holy cats the thing went way beyond that [world conquest]. Again, what we just said about this was the tip of the iceberg of what they were doing. Already Reptilians were doing it to other stars' planets all over this area of the Galaxy…. These young kids, the operatives, they couldn't believe half of what they brought back, what was going on. But some of them were really good people, and they knew how to get into places and listen to what's going on, and finding what that guy he had talked to, or he heard, and going to so and so, because yes they were doing that over there. It goes to two countries away from an occupied country with a facility, a massive thing going,
And another part of it, they were even building boiler plate steel UFOs, 200 foot, 250 foot boiler plate steel, which is insane. But that group took the information that was given to them, and they didn't even figure out it should not be steel, but the propulsion unit floated it up, just like it was a feather, and they were on a learning curve that you could do these things all over using standard mathematical, or standard technical terms of the way you would normally do it.
Thousands of engineering groups were working different aspects to all of this. Some of them had the vehicles, others they gave them a vehicle to reverse engineer, so they could become familiar with everything from the inside out. And so different people, different organizations could handle these different matters. It was a massive program. The mission was to take over the planet, kill off all of the ones that were a problem, and the rest of them make slaves out of them. Everybody on your planet, then second phase was to leave the planet with large squadrons of UFOs, after you've got them all built, and do the same thing to other stars' planets. That's the German will [plan?]
END TRANSCRIPT
Previous ExoNews TV Interviews with William Tompkins
Navy Disseminated Nazi Antigravity Secrets to Leading U.S. Companies & Think Tanks (for transcript click here, for introductory article click here )
William Tompkins autobiography, Selected by Extraterrestrials, is available at Amazon.com
Michael Salla's Insiders Reveal Secret Space Programs and Extraterrestrial Life is available at Amazon.com
Copyright: Permission to freely distribute on Internet. Permission required for print & audiovisual reproduction
US Navy Spies Learned of Nazi Alliance with Reptilian Extraterrestrials during WWII
April 4, 2016 exopolitics research, Space Programs
In today's episode of Exonews TV, William Tompkins reveals an astonishing secret acquired by U.S. Navy spies embedded within Nazi Germany's advanced technology projects during the World War II – the Nazi war effort was being assisted by extraterrestrial visitors.
The spies had reported to a covert Naval Intelligence operation, located at Naval Air Station San Diego, that Adolf Hitler had signed a secret agreement with representatives of a Reptilian extraterrestrial race. In today's newly released ExoNews TV interview, Tompkins reveals how "Reptilian consultants" were helping the Nazi SS develop advanced weapons technologies:
They had, if you want to call them, "consultants", who are Reptilian consultants assisting on all of these different things that it takes to design and build these spacecraft carriers, and propulsion systems. So this is an extremely well developed program and documented like crazy. Getting copies of the documents was hard for them, hard for our spies. This was an open program in the upper level of the SS.
The spies learned that the goal of the Reptilian plan was not only to assist the Nazis to win the war and achieve planetary conquest, but to build fleets of antigravity spacecraft carriers that could be used for interplanetary conquest in other star systems:
Holy cats the thing went way beyond that [world conquest]. Again, what we just said about this was the tip of the iceberg of what they were doing. Already Reptilians were doing it to other stars' planets all over this area of the Galaxy…. These young kids, the operatives, they couldn't believe half of what they brought back, what was going on. But some of them were really good people, and they knew how to get into places and listen to what's going on, and finding what that guy he had talked to, or he heard, and going to so and so, because yes they were doing that over there.
Tompkins information is startling, but it is not the first time claims have been made about Nazi Germany receiving extraterrestrial help during the War. The father of German rocket science, Herman Oberth, said the following in response to a question about Nazi Germany's rapid technological development:
We cannot take credit for our record advancement in certain scientific fields alone. We have been helped." When asked by whom, he replied, "the peoples of other worlds.
In a 1998 interview with Linda Moulton Howe, a former CIA agent, who from 1957 to 1960 was given access to highly classified briefing files, said that the documents revealed that the Nazis had indeed been helped by an extraterrestrial race in their advanced aeronautical weapons projects:
When Vril was building that first craft, the Vril had one or two of the aliens that worked with them in Germany where they fired rockets from Peenemunde. The documents I read in Washington said that's where the first Vril vehicle was made…. They [aliens] were helpers to Germany.
More recently, Secret Space Program whistleblower, Corey Goode says that from 1987 to 2007, he read intelligence briefings on smart-glass pads that detailed what had happed during World War II.
He describes how German Secret Societies were helped before and throughout World War II by Draconian extraterrestrials who were assisting the former in the development of advanced antigravity space battle fleets.
At the same time these [German Secret] Societies had made contact with the Draco Federation and another group that avoided the Draco's. The German Occultists were very busy from the early 1900's, especially the time just before, during and after World War One. Their major breakthrough's occurred in the late 1930's.
Goode said that the ultimate goal of the Reptilians, in helping German Secret Societies and the Nazi SS, was to create advanced space carrier groups that would be capable of interplanetary conquest. The eventual German/Nazi space battle groups became what Goode described as the "Dark Fleet." It operates outside of our solar system, and is described at length in the book, Insiders Reveal Secret Space Programs and Extraterrestrial Alliances.
Consequently, the whistleblower testimonies by the CIA Agent and Corey Goode support Tompkins' claims that intelligence briefing files dating from World War II did indeed refer to Nazi Germany being assisted by extraterrestrials. Significantly, the ultimate goal of the German Reptilian alliance went far beyond planetary conquest, as Tompkins claimed the U.S. Navy had learned from its spies.
In addition to the preceding whistleblower testimony, there are important documents that support Tompkins extraordinary claims. In his autobiography, Selected by Extraterrestrials, Tompkins supplied a number of significant documents.
The two most pertinent to his specific claims that Navy spies were reporting on advanced Nazi aerospace projects, are Tompkins' mission orders and two passes he received to enter and leave Naval Air Station with multiple "information" packages.
His mission orders confirm that he was authorized to work as a "Disseminator of Aircraft Research and Information." This is compelling documentary evidence that the packages Tompkins was carrying contained classified Naval intelligence on advanced aircraft designs, which included those developed in Nazi Germany.
In last week's ExoNews TV interview, Tompkins revealed how he participated in the debriefings of Navy spies, who returned periodically from Germany to give updates on what they were seeing in advanced technology projects. Tompkins job was to then design briefing packets that he would disseminate to leading U.S. corporations, think tanks and universities that could properly study and evaluate the information.
Over the four years of his covert Naval Intelligence service (1942-1946) Tompkins estimates giving 1200 briefings at different locations, where he revealed Nazi secrets to those U.S. scientists most capable of understanding what the Germans were secretly developing.
This week's episode of ExoNews TV is likely to be deeply disturbing to those believing the question of extraterrestrial life is still largely a speculative question, arising from thousands of sightings of UFOs. Tompkins information sheds considerable light on probably the most closely guarded secret in the entire history of the U.S. Intelligence Community.
Nazi Germany had been secretly helped by a race of Reptilian extraterrestrials prior to, during and after the Second World War! The U.S. Navy was to subsequently play the lead role in developing a strategic response to this threatening alien alliance, which would continue long after official military hostilities had ceased in Europe.
© Michael E. Salla, Ph.D.
Permission to Circulate in Full
William Tompkin's autobiography. Selected by Extraterrestrials is available at Amazon.com
ExoNews TV – Navy Disseminated Nazi Antigravity Secrets to Leading U.S. Companies & Think Tanks
Interview Transcript – Navy Disseminated Nazi Antigravity Secrets to Leading U.S. Companies & Think Tanks
US Navy Spies Learned Secrets of Nazi Anti-gravity Spacecraft
Top Aerospace Designer Blows Whistle on Secret US Navy Space Battle Fleets
Apollo Missions Ended Because Extraterrestrials Prevented US Navy Bases on Moon
Did US Navy battle UFOs protecting Nazi Antarctic sanctuary in 1947?
March 29, 2016 exonews, Space Programs
In this exclusive ExoNews TV interview series we hear directly from William Tompkins' about his work for U.S. Naval Intelligence during the Second World War. He reveals that he was directly involved in debriefings by Navy Spies embedded in Nazi Germany's most advanced aerospace projects – some of which involved antigravity flying saucers that were capable of space flight.
Tompkins job was to design intelligence briefing packets based on the Navy spies debriefings, and to then deliver these packages to leading U.S. aerospace corporations, think tanks and universities for study and evaluation.
Tompkins describes how from 1942 to 1945, he participated in over a thousand debriefings of U.S. Navy spies, who had been embedded in leading Nazi Germany aerospace corporations involved in building flying saucers. Disseminating this vital intelligence information to various U.S. aerospace corporations and universities was Tompkins primary responsibility.
Tompkins said that he served under Admiral Rick Obatta who was in charge of intelligence operations out of the Naval Air Station at San Diego, and three Navy captains who were specialists in different areas of Naval aircraft design, engineering, and procurement. In the interview, he describes some of the circumstances of the debriefings that he participated in.
The following interview extract features Tompkins answering questions from Dr. Robert Wood and I on the information he gained from the Navy operatives, the different corporations and thinks tanks he travelled to, and some of the aerospace technologies that were being secretly developed by the Nazis during the War.
Tompkins begins the interview by describing the small office where the debriefings of the Navy spies took place at Naval Air Station, San Diego.
Age Regression & Time Travel in Secret Space Programs
US Navy Plan-to-Disclose Extraterrestrial Contact Secretly Developed in 1998


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Nate Hood on LA VIDA EN COMÚN (2019) Camden International Film Festival 2019
Ezequiel Yanco's La vida en común is not a film for the faint of heart. A documentary about two young Ranquel boys hunting for a cattle-eating puma in northern Argentina, it contains several graphic scenes of killing and butchery. The very first shot of the film sees a wild boar captured, held down, and throat-cut, the camera holding on its gushing neck wound as its legs twitch and flail. We see scenes like these and understand that this is the brutal reality for these economically oppressed, racially stigmatized people who must hunt to survive.
And indeed this film is primarily interested with ushering viewers into the interior world of its subjects. But unfortunately, if La vida en común is not a film for the squeamish, it's also not a film for those who enjoy good documentaries. As an aesthetic statement the film is marvelous in how it observes indigenous life in the dusty hillsides of the La Pampa Province; originally a people of nomadic hunters, the Ranquel were forced onto reservations in the late nineteenth century and it's clear that even centuries later they still haven't fully adapted to a sedentary lifestyle. The subjects only truly come to life when they're hunting or driving or moving—contrast this to the deadening scenes of them learning Spanish in a schoolhouse.
But the film insists on having a plot, namely that of a coming of age story concerning its two subjects Uriel (11) and Isaías (13). For them, the hunting of the puma is a rite of passage and a metaphor for their looming adolescences. But instead of observing and letting the film express its story organically, Yanco stages things like a fiction film with sequences that obviously necessitated careful blocking and lighting such as one scene of alternating closeup shots of the boys and a newly arrived girl in their community staring at each other, blushing, and looking away. One can't help but think of the early docudramas of Robert J. Flaherty like Nanook of the North (1922) where sequences involving indigenous peoples were deliberately planned and staged. But Flaherty films seldom entered the world of metaphor—if we saw a staged scene on an Inuit man building an igloo, it represented just that, the building of an igloo. But Yanco is trying to make a statement about manhood and maturity that feels betrayed with his obtrusive documentary techniques.
Labels: argentina, Camden International Film Festival 2019, documentary, Nathanael Hood

redpajama_set_name: RedPajamaCommonCrawl


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Until It's Fixed
Introducing Until It's Fixed
Play • 2 min
Introducing "Until It's Fixed". A podcast about innovation in health care. Join us for this 10-part series hosted by acclaimed author of 'Health Care Without Walls: A Roadmap for Reinventing U.S. Health Care', Susan Dentzer. Coming fall 2020.
More episodes from Until It's Fixed
Reflections and Hope
Highlights * 01:30 Meeting people where they are | Stacey and Callie first revisit a conversation with child and adolescent psychiatrists Dr. Mona Potter and Dr. Yusra Benhalim on progress being made to better support mental health care for our kids * 08:59 Your whole health | Ryan Adcock of Cradle Cincinnati and Dr. Natalie Hernandez from Morehouse School of Medicine discuss how interconnected each part of our life is with our health and the need to expand our focus beyond what's shared or happens in a doctor's office or hospital. * 13:26 Smarter care | Callie and Stacey reach back to the very beginning of the season when Kristi Henderson, SVP, Center for Digital Health and Innovation at Optum and CEO of MedExpress, joined to talk about the growing role of technology in our lives and how that may continue to benefit our health care. * 18:30 Change | Rounding out the conversation, our hosts replay a clip from Dr. Margaret-Mary Wilson, Chief Medical Officer of UnitedHealth Group, on how bias impacts medical care experiences, and reflect on the growing focus on equity across the health industry. Resources • Until It's Fixed The views, opinions, and content expressed in this podcast do not necessarily reflect the views, opinions, or policies of Optum. Visit optum.com for more information about how Optum is helping to create a healthier world.
Highlights * Introduction | Revisiting a big theme of the season, Callie and Stacey discuss the idea of empowering people to take charge of their health while helping them navigate what can be complex in the health care system. * 02:11 Interview: Dr. Kate Wolin and Optum Store | Dr. Wolin, Direct-to-Consumer VP at Optum, joins Stacey to talk about the growing focus on designing health care products and services based on the unique needs and tastes of each person. * 11:11 Interview: The consumer revolution | Choices of health care services offered directly to people could change the way you interact with the health care system. Dr. Wolin discusses what's at the heart of making this work and the wins this will bring when you seek support for health and wellness. * 24:36 Conclusion | Stacey and Callie share what excites them about a more people-centered approach to health care, including bringing together what has traditionally been done in silos and having tools to make informed choices about your health. Resources * Optum Store Guest: Dr. Kate Wolin, VP and Head of Product, Optum Direct-to-Consumer The views, opinions, and content expressed in this podcast do not necessarily reflect the views, opinions, or policies of Optum. Visit optum.com for more information about how Optum is helping to create a healthier world.
Screening and Survival
Highlights * Introduction | Hosts Stacey and Callie kick off the episode with a look at the statistics on cancer diagnosis in the U.S. to prepare for a conversation about the importance of regular screening to find cancer earlier, hopefully before it has spread. * 03:09 Roundtable: Cancer screening and statistics | Dr. Sung Poblete and Matthew Zachary join Callie to discuss recent survey results on cancer screening in the U.S. and how COVID-19 has impacted trends. * 27:07 Roundtable: Being a voice for patients| Cancer rebel Matthew Zachary turned his experience into a passion for patient advocacy; he and Dr. Poblete talk about how the game has changed for the better since his own cancer diagnosis. * 39:52 Conclusion | Our hosts close out the show reflecting on the barriers some communities face in getting screened, and the developments that have happened as a result of partnerships. Resources discussed in the episode * Cancer Screen Week: Screening Guidelines * Stand Up To Cancer * The Big Screen Podcast: How COVID-19 disrupted and reshaped cancer prevention * Optum: Improving how we prevent and survive cancer Guests Matthew Zachary, Cancer rebel, patient advocate and podcast host Dr. Sung Poblete, CEO, Stand Up To Cancer The views, opinions, and content expressed in this podcast do not necessarily reflect the views, opinions, or policies of Optum. Visit optum.com for more information about how Optum is helping to create a healthier world.


Publisher: Fieldiana -- v. 22, no. 2, Publication / Field Museum of Natural History -- 472, Publication (Field Museum of Natural History) -- 472..
"Fieldiana -- v. 22, no. 2, Publication / Field Museum of Natural History -- 472, Publication (Field Museum of Natural History) -- 472." serie.
Find and Load Ebook Studies of American plants.
The Free Books Online service executes searching for the e-book "Studies of American plants." to provide you with the opportunity to download it for free. Click the appropriate button to start searching the book to get it in the format you are interested in.


Taiwan International Work Camp 2017 is offered by Vision Youth Action (VYA), a non-government/ non-profit organization working with the aim to promote volunteerism and international exchange in Taiwan and around the world. Now VYA is promoting "Urban Famer" program in Taiwan, which benefits participants to feel the Mother Earth, at the same time know more about the Taiwanese local cultural heritage and make volunteer friends from around the world (see the attached file). Moreover, if you are planning your summer time activity, please take fun-and-meaningful international community service programs into account. Here are two English volunteer program search engines sponged by VYA and its volunteer alliance network. Check it out!


Cut in a stunning guipure lace with a graphic daisy pattern, this fit and flare style is perfect for summer occasions. It has a flattering jewel neck with a button keyhole at the back. Finished with an invisible back zip. Just add heels.


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This list contains details of electronic databases available to Oxford Brookes staff and students on the web. Databases allow you to search for references for journal articles and other publications and sources in your subject area. Some databases provide an indexing service only, some also provide abstracts (summaries) and others are full text. For more information on using these services see the How to search catalogues and databases page. The Library also provides direct access to many full text electronic journals.
RILM abstracts of music literature
Covers the whole range of musical literature, indexing books and other resources as well as journal articles.
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This database provides an archive of full-text articles from a wide range of academic journals, including some key music journals. JSTOR does not give access to issues which are less than 3-5 years old but is very useful for older journal articles.
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Performing Arts Periodicals Database
A key database for Film but also includes articles on computer games and television.
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Rock's Backpages
Rock's Backpages is a database of rock music writing and journalism, with material dating from the early 1960s to the present day. It offers full text access to articles, reviews, and interviews. The database also includes Mp3 audio files of interviews.
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Contains the online version of the New Grove Dictionary of Music and Musicians, a comprehensive music encyclopedia.
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An illustrated collection of articles providing the life stories of over 50,000 people who have shaped the history of the British Isles and beyond, from the earliest times to those who died in recent years. Includes composers, musicians, singers and conductors.
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Naxos Music Library
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Recordings available for listening and downloading. Classical music includes Bach, Beethoven, Brahms, Chopin, Haydn and Mozart. The world and traditional music section is particularly strong on African and Asian music but also includes English folk music. The spoken word collection includes interviews with musicians; other resources include soundscapes and the history of recorded sound.
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The Guardian and The Observer (1791-2003)
Full text facsimile, good for reviews, advertisements and obituaries.
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Seventeenth-eighteenth century Burney Collection newspapers
17th and 18th century pamphlets, proclamations, newsbooks and newspapers published in England, Ireland and Scotland, plus a selection of papers from British colonies in the Americas and Asia. Newspapers include the London Chronicle, the London Morning Penny Post and the British Chronicle.
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Times Digital Archive
The complete digital edition of The Times newspaper, 1785-2019, with all articles, advertisements and illustrations
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A multi-disciplinary database offering full text access to more than 4,470 scholarly publications including 20 key music journals.
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Covers all aspects of contemporary art, including the performing arts, music and film. It includes ejournal articles from 1997 onwards and also provides links to other ejournal articles.
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Covers mostly British and European Education journals, as well as some research reports and conference papers. Lots of the articles (not all) have the full text available.
Access British Education Index Finding journal articles with the Education databases
Undoubtedly one of the most important databases for Communication, Media and Culture. The database covers subjects such as advertising, broadcasting, communication, cultural studies, film, journalism, language and linguistics, mass media, radio, rhetoric and television.
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An international newspaper database.
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Covers the history of the world from 1450 to the present (excluding the United States and Canada), with references to articles, books and other publications from 1950 onwards; contains quite extensive abstracts for most entries; and links to journal articles.
Access Historical Abstracts
LexisLibrary UK
The News tab of this legal database gives full-text access to UK national and regional newspapers including the Guardian, Independent,Times and Daily Telegraph.
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A number of journals relevant to Music are available online. Use the Journal titles tab from the Library homepage to search for a specific journal. Alternatively you can browse an alphabetical list of journals
E-journals can also be found by searching LibrarySearch. If you are looking for journal articles on a specific topic the best place to start is by using an electronic database. See the Databases section above.
Internet sites
There are a number of music resources available on the internet, and a few selected sites are listed below.
Online scores
IMSLP / Petrucci Music Library - a large virtual library of music scores which are in the public domain (some of the scores are not available in the UK).
Boosey & Hawkes Online Scores (requires registration)
Specific types of music - a selection of web sites
Sound and Music - for contemporary British music
Operabase - information about more than 27.000 operas performed since 2002
Soundtrack.net - the art of film and television music - film and television soundtrack information and reviews
English Folk Dance and Song Society
Cecilia - a searchable guide to music collections in archives, libraries and museums in the UK and Ireland.
British Library Sound Archive - national collection of sound recordings
Oxford Music Library - printed music, books, CDs, DVDs and performance sets. Part of the public library service.
Vaughan Williams Memorial Library
Concert Programmes Database - a database of collections of concert programmes held in European libraries, archives and museums
Encore! - union catalogue of sets of performance music in UK libraries
Europeana Music - explore 324,662 music recordings, pieces of sheet music and other music items from across Europe
The Festival Calendar - guide to UK summer music festivals
Julian Wagstaff Online Catalogue - recordings, scores, instrumental parts, press reviews and programme notes for the publicly available works of this composer.
Live Music Exchange - live music research hub
Musical Instrument Museums Online - information on musical instruments held in public collections worldwide
Music-scores.com - a classical sheet music service
Open Research Library - a single access point for open access e-books from a range of publishers. Particularly good for the arts and humanities.
The Full English - digital archive of English traditional music and dance
Naxos Music Library (NML) is the world´s largest online classical music library. Currently, it offers streaming access to more than 145,070 CDs with more than 2,245,800 tracks of both standard and rare repertoire. An average of 1,150 new CDs are added to the library every month. It is a scholarly resource that also includes background information such as libretti and synopses, work analyses and details and over 40,000 composer and artist biographies.
You will need a password to access the Naxos Music Library. Passwords are given only to music students and staff. The password will be changed frequently - contact Chris Fowler at cbfowler@brookes.ac.uk if you need to know what the current password is.
Please remember to log out every time you finish using the service. If you do not click on the logout button, you may have problems accessing the service again.
Only six people may access the Naxos Music Library at any one time. Please use the service for academic purposes only during semesters.
NML can be accessed from any computer, anywhere, anytime. With the iPhone/iPod and Android mobile apps, subscribers can also access the service on the go, and the HTLM5 player can stream music though the standard internet connection of most phones and tablets. Once logged in to NML select the Mobile App tab for more information.
Citing and managing your references (for Music MA students)
Citing the sources you have used in your research (also called referencing) is an essential part of your academic work. The Music Department does not prescribe one system for the MA, and you may continue to use any recognised system you are currently skilled in using. If you are unsure, the Music Department recommends that you follow the MHRA (Modern Humanities Research Association) Style.
The MHRA Style Guide for references and presentation can be downloaded from the Web pages of the Modern Humanities Research Association.
EndNote is a reference management software package which can help anyone, including those working at undergraduate level, with studying, research and creating bibliographies. It allows you to create your own database of references (known as a "library") which you can then search, edit and format automatically in different output styles for your bibliographies. You can enter references manually into Endnote or import them directly from databases using import filters.
There are two versions of EndNote: EndNote Web is free to all members of Oxford Brookes, you just need to register. You can access your EndNote Web library from wherever you are. EndNote desktop (software version) is available on all Brookes PCs. Staff can have it loaded on to their office PC and it is also available to buy for home use.
See our EndNote web pages for more information on accessing and using EndNote.
Once you have compiled your EndNote Library you will be able to create your bibliography automatically as you write your Word document. This bibliography can be formatted in your chosen style e.g. MHRA. You can also do this with the desktop version. Note that the MHRA Style is called Modern Humanities Res Assn within EndNote.
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Mordellistena potamophila is a species of beetle in the genus Mordellistena of the family Mordellidae. It was described by Franciscolo in 1962.

References

Beetles described in 1962
potamophila

redpajama_set_name: RedPajamaWikipedia


Three of the finest young men I know are or very shortly will be en route to places afar.
I dearly love this extended family of mine, these men that have sprung up and been raised up from the boys I met so many years ago.
I pray for them (and for their families, who have been and will continue to miss them as the distance grows). I pray for their travel, and their safety. And I pray for their continued growth in the knowledge of God, and for the Work – the grand adventure – they have each been called to.
May God be glorified. May they be blessed.


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[NOTE: This resource is no longer accessible] This resource produced by the Queensland Government's Department of Education and Training offers a comprehensive evaluation template plan that is saved as a Word document so it can easily be opened, adjusted and filled in by users. It also provides an extensive evaluation checklist in Appendix 1.
Evaluation Governance Group Terms of Reference.
Evaluation Staff Roles and Responsibilities.
Thanks, Leslie. I've updated the link.


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by Brian Bowman | December 10, 2019
If you have a new mobile game and you want to bring it to a worldwide market, you'll need an effective launch strategy with effective user acquisition at its core.
Launching a game is more than getting it into the stores and managing user feedback in the forums. Success is largely hinged on attracting and retaining the right users for your game in each market.
Here, we're focusing on how Facebook can help you achieve this goal. What's particularly challenging is that user acquisition advertising evolves fast. What worked for Facebook user acquisition advertising in 2019 won't work nearly as well in 2020, and here, we're going to help you focus on the future.
What you need to know for 2020
Facebook pivoted toward algorithm-driven advertising last February and never looked back. Their new requirement for Campaign Budget Optimization is more evidence of the algorithm taking over, and Facebook's Power5 recommendations for advertising best practices just drove the point home further. Both Facebook and Google have simplified and automated a lot of the levers user acquisition managers used to rely on. That trend will continue and accelerate in 2020. Now is the time for you to prepare your accounts for that acceleration by structuring them for scale with the best practices we'll describe here.
The big takeaway of Facebook UA advertising in 2019 is it's best to let the Facebook algorithm do what it does best: Automated bid and budget management and automatic ad placements. Let humans do things the algorithm can't do well (yet), like optimizing creative strategy.
If you want to take your game from soft launch to worldwide launch using Facebook's 2020 best practices, we've created this three-part series with our recommendations.
These are the launch best practices we've developed by working with hundreds of clients, profitably managing over $1.5 billion in social ad spend. Based on an awful lot of trial and error (and quite a lot of successes, too), this is how to get the best return on ad spend possible and to launch your app efficiently.
It breaks out into three phases:
Early Creative Testing in the Soft Launch
Taking Your Campaign to the Next Level in the Worldwide Launch
Scaling Worldwide Through Optimizations
Phase One: Early Creative Testing in the Soft Launch
We've been doing well with "soft" launches. It gives us a great opportunity to pre-test creative, test campaign structures, identify audiences, and help evaluate our client's monetization strategy and LTV model. By the time we're ready for the worldwide launch, we'll have found several winning creatives and have a strong sense of the KPIs necessary to achieve and sustain a profitable UA scale.
Soft launches tend to work best if we focus on a limited international market. Usually, we'll pre-launch in an English speaking country outside of the US and Europe; Canada, New Zealand, and Australia are ideal picks for this. Choosing countries like those let us conduct testing in markets that are representative of the US, but without touching the US market. As we are not launching in the US, it will not spoil our chances of being featured by Apple or Google.
Once we've got the market selected, we pivot to:
Identifying the most efficient campaign setup
A simplified account structure, rooted in auction and delivery best practices will enable you to efficiently scale across the Facebook family of apps. We typically hear things like "My performance is extremely volatile." "My ad sets are under-delivering." "My CPAs were too high, so I turned off my campaign." "I've heard I need to use super-granular targeting and placements to find pockets of efficiency." The best way to avoid this is to structure your account for scale based on Facebook's best practices. Facebook defined those best practices in their Facebook's Power5 recommendations earlier this year. But – in evidence of how rapidly the platform evolves – they fine-tuned their best practices again lately in their Structure for Scale methodology.
Structure for Scale
The gist of Structure for Scale – and of what Facebook wants advertisers to do now – is to radically simplify campaign structures, minimize the amount of creative you're testing, and to use targeting options like Value Bidding and App Event Bidding to control bids, placements, and audience selection for you. Facebook is building up a considerable body of evidence that this approach results in significant campaign performance improvements, though if you're a UA manager who likes control, it can be an adjustment.
Compliment the Algorithm
The underlying driver of all these new recommendations from Facebook is we need to build and manage our campaigns to compliment the algorithm – not to fight it. One of the key benefits of adopting new best practices is to minimize Facebook's Learning Phase. Ad sets in the learning phase are not yet delivering efficiently, and often underperform by as much as 20-40%. To minimize this, structure your account to give the algorithm the "maximum signal" it needs to get you out of the Learning Phase faster.
Results During the Learning Phase
Expect somewhat volatile results during this exploration period (aka the Learning Phase) as the system calibrates to deliver the best results for your desired outcome. Generally, the more conversions the system has, the more accurate Facebook's estimated action rates will be. At around 50 conversions per week, the system is well-calibrated. It will shift from the exploration stage to optimizing for the best results given the audience and the optimization goals you've set.
Through all of this, keep in mind that Facebook has built its prediction system to use much data as possible. When it predicts the conversion rate for an ad, it takes into consideration the ad's history, the campaign's history, the account's history, and the user's history.
When the system says that an ad is in Learning Phase, it's only a warning that the ad has not yet had enough conversions for the algorithm to be confident that its predictions are as good as they will be later. The standard threshold for confidence is 50 conversions, but having 51 conversions is not that much different from having 49. The more conversions you give the system, the better its predictions will be.
While it is best practice to let the algorithm manage placements and bids, we do still have quite a lot of levers of control over specific parts of campaign management.
Lever #1 Increase Audience Size
Increase retargeting windows beyond 1 day, 3 days, or 7 days and make sure retargeting increments align with website traffic volume.
Bucket Lookalike audiences into larger groups. For example:. 0-1%, 1-2%, 3-5%, 5-10%.
Group interest and behavior targets that have high overlap together, but make sure your creative strategy is the same for each segment.
Minimize the audience overlap. Use proper audience exclusions and make sure you are excluding past purchasers.
Increasing audience size can help us gather more data and prevent inefficiencies caused by targeting the same audience across multiple ad sets.
Exclude past purchasers and website traffic from prospecting campaigns. This allows us to better track KPIs and to ensure we reach new users, not those who have recently purchased and are no longer in the market for your app or offer.
Structure initial launch audiences for maximum performance. Here's an example of how we do it:
Once you have about 10,000 installs you can move to AEO (App Event Optimization for purchases). Then your audience structure can shift to something more like this:
And once you have about 1,000 purchases, you can move to Value Bidding and reselect your audiences again:
Lever #2: Combine Placements: Select automatic placements for better results.
The more placements your ads appear in, the more opportunities you have to reach or convert someone. As a result, the more placements your ads are in, the better your results can be. And you won't get penalized for letting the algorithm test new placements. After the Learning Phase, the algorithm will just not show your ads where they don't perform. It can do the placement testing for you.
Facebook's system of Discount Bidding (Also known as "Best Response Bidding") will always try to find the lowest cost results based on a campaign's objective and within the audience constraints set by the advertiser. But if you're willing to widen the delivery pool by including additional placements, you're giving the algorithm more to work with. That gives it a better shot at finding lower-cost results and delivering more results for the same budget.
Asset customization gives you control over placements
The ad sizes and ratios you use, of course, determine which placements those ads can appear in. So you'll want to choose the images or videos people see in your ads based on where those ads may appear.
If you elect to manually select placements, use asset customization. It will let you specify what ads are shown for specific placements to ensure your ad displays the way you want. Asset customization also allows organizations to easily choose the ideal image or video for some placements within one ad set. If you have a content strategy that requires specific assets to appear in specific placements, this option is your best bet.
Lever #3: Increase Budget Liquidity: Select automatic placements for better results.
Increase your campaigns' budget-to-bid ratios. Calculate daily budgets based on the cost to achieve Facebook's 50 conversions per week threshold.
Use Campaign Budget Optimization. Our current best practice for CBO is to separate prospecting, retargeting, and retention into separate campaigns. Otherwise, CBO will push the budget toward retargeting and retention. Focus on a split of roughly 70% prospecting, 20% retargeting, and 10% loyalty (loyalty is optional). Segment your budget at this high level, then let CBO do the work within those objectives.
Test creative at the ad level instead of creating separate ad sets for individual creative assets. Some clients will have one ad set for each piece of creative they want to test. This isn't best practice because they are likely targeting the same audience within each ad set (which creates 100% audience overlap) and each ad set only has one ad. Instead, set up multiple ads with different creatives in a single ad set. It's a fast, streamlined way to test how multiple creatives will perform.
Use Placement Asset Customization. This is the setting to use if you want to build complementary messages across platforms and benefit from utilizing placement optimization, but you want to be able to specify which creative asset is used for each platform or placement type.
Lever #4: Bid smarter.
Never underestimate the power of choosing the right bid strategy. Make your pick carefully (and test it) based on your campaigns' goals and cost requirements. Whatever bid strategy you pick is basically giving the Facebook algorithm instructions on how it should go about reaching your business goals. Here are a few things to consider:
Lowest Cost:Directs the Facebook algorithm to bid so you achieve maximum results for your budget. Use the Lowest Cost when:
You value the volume of conversions over a strict efficiency goal.
You have certain audiences you just want to get in front of, and the conversion rate is high enough to justify the spend.
You're unsure of the LTV of a conversion.
You're already using the lowest cost bidding and are satisfied with the cost per result.
Target Cost: This aims to achieve a cost per result on average. So even if cheaper conversions exist, Facebook will optimize for the specified cost per result. Use it when:
You want a volume of results at a specific cost per result on average, and you want consistency at this cost.
You're willing to sacrifice some efficiency for consistency.
Lowest Cost with Bid Cap: Sets a limit on how high Facebook will bid for an incremental conversion. Use it when:
You know the maximum amount you can bid per incremental result, and any incremental conversion above this value would be unprofitable and unwanted.
You're targeting a broader audience with a lower likelihood to convert, so you want to appropriately manage costs.
You have a highly segmented audience with a defined LTV for each segment, and you understand the associated bid.
Whenever possible, assign a value to your audience. Ignoring LTV when you bid just doesn't make sense long-term.
If you're using a bid cap, make sure that the cap is high enough. We suggest setting your cap higher than what your goal actually is. Still not sure what's high enough? The average cost per optimization event your ad set was getting when you weren't using a cap can be a useful starting point. Just keep in mind that bids are often higher than costs. So setting your bid cap at your average cost per optimization event could result in your ads winning fewer auctions.
A word about campaign structure
Campaign setup matters. A lot. We need to figure out which campaign structure is going to work best for the particular app we're launching. That usually means using Campaign Budget Optimization settings, but we also have to decide if we want to initially optimize for Mobile App Installs (MAI) or App Event Optimization (AEO).
Typically, if we don't already have a large database of similar payers, we will need to start with a limited launch using (MAIL) app installs as our campaign optimization objective until we've got enough data to shift to AEO (app event optimization). For initial testing, we like to buy 10,000 installs to allow for testing of game dynamics, KPIs and creative.
Once we have 2-3 rounds of initial testing and data complete, we recommend switching UA strategies to focus on purchases using AEO and eventually VO to drive higher value users. This one-two punch of AEO and then VO is a great solution that allows ROAS to start to flow through the system for LTV modeling and tuning. Ultimately, what we're doing is training Facebook's algorithm for maximum efficiency and testing monetization and game dynamic assumptions.
Audience demographics get a lot of attention at this phase, too. We'll review the performance of our campaigns at various age and gender thresholds, first using broad audience selections to build up a pool for evaluation and eventually allowing Facebook to focus on AEO/VO audiences to test monetization.
Facebook's recommendation is to start as broad as possible and run without targeting, and we agree with this. Also, keep your account structure simple by using one or two campaigns and minimal ad sets where you reduce or eliminate audience overlap and set your budgets to allow for 50 conversions per week per ad set. Facebook refers to this as "Structure for Scale" and it gives their algorithm the best opportunity to learn and adapt to the audience you're seeking. It will help get your ads out of the Learning Phase and into the optimized mode as quickly as possible.
Testing and optimizing creative
We believe creative is still the best competitive advantage available to advertisers. Because of that, we relentlessly test creative until we find break-out ads. Historically, this focus on creative has delivered most of the performance improvements we've made. But we've also found that new creative concepts have about a 5% chance of being successful. So we usually develop and test at least twenty new and unique creative concepts before we uncover a winning concept.
That's far more work than most advertisers put in, so to stay efficient we've developed a methodology for testing creative that we call Quantitative Creative Testing. QCT, combined with some creative best practices, allows us to develop the new high-performance creative concepts that clients need to dramatically improve their return on ad spend (ROAS) and to sustain profitability over time.
Our overarching goal with all this pre-launch creative is to stockpile a variety of winning creative concepts (videos, text, and headlines) so we're ready for the worldwide launch and can launch in the US and other Tier 1 countries with optimized creatives, audiences, and a fine-tuned Facebook algorithm.
Collect lifetime value data
This is where optimizing the game's monetization comes in. While we're working on campaign structure, what to optimize for, and developing creative, we're also collecting lifetime value data. This helps us meet the client's early ROAS targets based on their payback objectives. Most mature gaming companies want a payback window of one to three years, which is pretty easy to attain if all the other aspects of a campaign are on track.
Low expectations for pre-launch
Post-launch metrics tend to be noticeably stronger than pre-launch metrics. Several factors contribute to this:
The same creative we tested at pre-launch will usually perform better when it's used for the worldwide launch.
The US audience we had held back from advertising for pre-launch will ultimately make up about 40% of the total ad spend once the worldwide rollout is underway. This gives us a lot of potential user base to go after in the most cost-effective ways.
We tend to see a correlation between higher reach and higher ROAS on Facebook. So the worldwide targeting we use post-launch also gets a boost in performance over the limited market targeting we did pre-launch.
Shifting Towards The Worldwide Launch
Pre-launch campaigns can run from anywhere between a week to a month. They are an investment, but they let us hit the ground running with proven creative, an efficient campaign structure, and a monetization strategy that further boosts profitability. For advertisers who want to scale fast, this is absolutely the way to go.
Phase Two: Taking Your Campaign to the Next Level in the Worldwide Launch
Creative testing early and often was one of the key takeaways from our first post in this three-part series. We discussed how to complete the pre-launch phase of launching a gaming app and structuring your account.
Now, we're ready to gear up for the worldwide launch because we have tested creative, optimal campaign structure, and a monetization strategy that gives you the payback window you want.
To prepare for this global launch, we typically start by casting a wide net with different campaign structures so we can identify top-performers and scale them quickly.
We also focus on:
Which geographies to use
We'll test Worldwide, the United States only, and Tier 1 minus the United States to see which performs best. Then we'll drill down further as soon as we have enough data to decide which option to prioritize.
Testing audiences
We'll test different interest groups, and we'll also do a ton of work with lookalike audiences as soon as we've got enough purchases to start working with that data. We do so much work with audience selection that we built a tool to make it easier. Now our Audience Builder Express tool lets us create hundreds of super-highly targeted audiences with just a few clicks.
Which optimization goal works best
We did this in the pre-launch, but it has to be re-tested again now that we're advertising in dramatically larger markets. Typically we'll choose Mobile App Installs (MAI), App Event Optimization (AEO), or Value Optimization (VO).
Developing a campaign structure grid
These are spreadsheets that block out campaign structure and different campaign settings including ads sets, the budgets for each campaign, and more. They're basically a blueprint of the entire launch.
Here's what one section of a campaign structure grid might look like:
Sometimes we'll have two campaign structure grids – one from our team, and one from Facebook. Generally, Facebook's recommended best practices are the right way to go. Those are well summed up in the first post in this series, in their Power5 recommendations, and reviewed in detail in their Blueprint certification training.
We agree with this approach, but every company is a little bit different. So while we usually follow (and always endorse) Facebook's best practices, it's critical to understand the backstory and the technical side of why those best practices work. When you look at the underlying principles and the new features we have to work with, every so often, for a particular client situation, we'll bend those best practices a bit.
For example, heavy mobile app installs are recommended for the first week of launch. We've seen success with this strategy, and we've also seen some games scale more profitably with Value Optimization in week one than they did with Mobile App Installs. This is why we recommend casting a wide net instead of exclusively optimizing for Mobile App Installs.
The Learning Phase
We also want to get the campaigns out of the learning phase as quickly as possible because it tends to suppress ROAS by anywhere from 20 to 40%. Getting out of the learning phase typically requires 50 conversions per ad set per week. Once we're out of the learning phase, we'll also avoid any "significant edits" to top-performing campaigns and ad sets, as those would put those campaigns back into the learning phase. Facebook's system defines a "significant edit" as a campaign budget change of 40% or more or any bid change greater than 30%.
Then there's the issue of budgets. We aim to balance budgets within one to three days of launch so we can then shift spend to top-performing segments. We do that by first reducing the spend from underperforming geographies and optimization goals, and then reallocating it to top-performing geographies and optimization goals.
Once that's all balanced out, we can safely increase the budgets for CBO campaigns and ad set budgets. We can also launch new campaigns with these same optimized settings.
We'll have achieved a successful worldwide launch – the exposure will have gone global. The campaigns will be profitable and operating with the best efficiency we can deliver for now.
The next step is to fine-tune that efficiency and try to scale up further with audience expansion.
Phase 3: Scaling Worldwide Through Optimization
In the first and second segments of this series, we did our pre-launch work and successfully-launched a global campaign with positive ROAS. Now it's time to optimize what we've got and make it even better.
The launch plan shown below is a snapshot of everything we've done so far. It summarizes bid strategies and optimization goals, geographic roll-out, budgets, placements, and which audiences we're targeting. Everything, basically. It's not the sort of thing you'd want one of your competitors to get hold of.
Audience Expansion, Creative Testing, and Creative Refresh
These are the three fronts we'll tackle to optimize this campaign.
1. Audience Expansion
Once again, we'll fire up our Audience Builder Express tool and start isolating specific audiences. In addition to the standard in-app event audiences (registrations, payers, etc), we'll build and test audiences based on these KPIs:
Spend – all time
Last 7 days spend
Last 30 days spend
First activity date
Last activity date
Last spend date
First spend date
Spend in first 7 days
Spend in first 30 days
Highest level
Value-based audience by setting minimum value
Split by Android and iOS and select individual countries
This is what it looks like as you build up your payer base. As the data accrue, you'll be able to build manipulated audiences like this:
A little bit later on, as your title continues to grow, you can build even more audiences focused on users who pay early and pay a lot:
The other benefit to audience expansion
Great creative takes a lot of work to develop, so we want it to last as long as possible. We also want to find every single person on the planet who could be a high-value customer. So we very carefully expand audiences to avoid audience fatigue as much as we do it to avoid creative fatigue.
But being able to tie these audiences and rotate through them means our creative lasts significantly longer. It allows us to find a huge potential customer base, and we get thousands of conversions we might never have found or would have spent way too much to get.
Being able to control and expand audiences like this will also be valuable later on, as we scale up and the spending goes up because audiences burn out even faster as campaigns scale. Exploiting every possible audience expansion trick, at every step of the campaign, is critical. Being able to do it efficiently and effectively is a massive competitive advantage.
2. Creative Testing
Just as audiences burn out faster with high-velocity campaigns, creative burns out faster, too, of course. So we have to be aggressively testing all the time. And we do: We are constantly rotating through new creative.
To find creative that performs at the level we need, we usually have to test twenty ads to find one piece of creative good enough to replace control. That means we need a constant stream of new creative – both new "concepts" (completely new, out-of-the-box creative approaches) and new ad variations. Our creative development work is about 20% concepts and 80% variations.
This creative testing machine is running all the time, fueled by creative from our Creative Studio. It has enough capacity to easily deliver the 20 ads we need per week and can handle delivering up to hundreds of ads every week.
Because the game is global by this point, we'll also need localized creative assets. Creative has to be in the right language and may even be optimized for localized placements or cultures.
So we don't need just one winning ad every week: We need that winning ad cloned into every language and optimized for every region. Of course, all those ads also have to be at the right aspect ratios and optimized for Facebook's 14 different ad placements. That's when creative development gets really work-intensive. But the Creative Studio can handle that. They're adept at creating all those variations efficiently.
Dynamic Language Optimization
That's the creative development side. There's also a huge amount of testing strategy required to grow campaigns like this. First, we have to decide when and how we're going to use Dynamic Language Optimization, and when and how we'll use Direct Language Targeting. These two levers can make a nice difference in campaign performance, but they don't always work. Or sometimes they need tweaks to work well.
We'll also test worldwide versus country clusters, optimizing for large populations based on the dominant language of those populations. With dozens of countries and at least a dozen languages in play, this gets complicated. Fortunately, we have tools that make sorting all these inputs easy. And it is worth the work. Matching the right ad, language, and country cluster can improve performance by 20% or more.
3. Creative Refresh
Even with all the optimization like creative development and audience expansion tricks, creative is still going to get stale. So we have to be slowly rotating new, high-performance creative into ad sets all the time. We don't just stop showing one piece of creative and jump over to the new ad. As you probably know, even if a new ad tests well, it doesn't mean it will beat the control. So we do careful "apples to apples" creative tests to ramp up new assets.
Creative Refresh
https://www.consumeracquisition.com/quantitative-creative-testing/
So that's how we're launching new gaming apps on Facebook using their newest best practice, structure for scale. This process is working well and we're constantly testing, tweaking and enhancing it.
That's the fun thing about user acquisition on Facebook: It's constantly evolving. The article we'll write for how to launch a gaming app in 2020 Q4 (and even Q1) will be different from what you've just read.
Get the latest Facebook & Google advertising best practices, tips and tricks delivered to your inbox!
- Brian Bowman
CEO, Consumer Acquisition
Facebook's Structure for Scale: How to Prepare for Automated Media Buying
Don't Fear the Machines: Why Letting Google and Facebook's Algorithms Manage Your User Acquisition Advertising Is a Good Idea
Why User Acquisition is Dead and Facebook & Google Creative are King!
Facebook & Google App Campaign AdTech Changes: What Does This Mean for Advertising in 2019?
Facebook and Google Third Party AdTech is Dead
3 Ways to Take Advantage of Facebook's New Advertising Algorithm
Marketers Won't Become Obsolete Due to Bots—Just More Strategic


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The Turin Horse (Day 54)
My Opinion: 6.5 || Relentlessly bleak. Devoid of characterization and plot. And numbingly slow. But — the best black-and-white cinematography I've ever seen. It's a revelation. The film is like a succession of still lifes. (With more still than life.) I'm not convinced that pushing the boundaries of minimalism equates to pushing the boundaries of art, but it's a distinct, uncompromising, and memorable experience.
TITLE: The Turin Horse (A torinói ló)
DIRECTOR: Béla Tarr
LANGUAGE: Hungarian | COUNTRY: Hungary
PROFILE: Drama | 146 minutes | IMDb (7.5)
SYNOPSIS (Courtesy of Netflix): Hungarian director Béla Tarr helms this black-and-white drama about an aging farmer, his daughter and his horse, which picks up just after famed German philosopher Friedrich Nietzsche shields the animal from the farmer's whip.
Strengths: I dreamt about it, which is unusual for me. That suggests that Tarr does succeed in delivering an immersive experience. And the fact that this will be my longest commentary so far certainly reflects the challenging (in a good way) nature of the film. Whatever the movie's failings, it's impossible to come away unaffected by the imagery and sense of privation. I don't mean only the material privation, which is apparent in every moment of the film, but the soulless vacancy of the characters and their environment.
I wish I had the vocabulary to describe how starkly beautiful the photography is. The depth, the clarity, the detail — if every black-and-white film could look like this, I'd be content never to look at color images again. (I had the good fortune to watch a Blu-Ray version and highly recommend that anyone interested in the movie do the same — or see it in a theater.)
Primary Weaknesses: The Turin Horse has many weaknesses but few failures. It's not as if Tarr tries to deliver a plot and characterization but fails: he's clearly determined to obliterate both. Does that reflect artistic courage and strength of vision — or constrained imagination and curiosity? You have to wonder: At what point does minimalism this extreme become more of a filmmaking experiment than a full-hearted attempt at exploration? Tarr doesn't seem intent on conveying desolation; he seems intent on committing it.
Other Weaknesses: There are several voice overs. They don't work. After scene upon scene of unceasing gloom, it's verges on comedy to lay on a gloomy voiceover describing how gloomy it all is. Gloom. Got it.
Our miserable protagonists receive two visits. The second one involves a band of aggressive gypsies, and it's the closest the movie comes to action. It's a good scene. The first visit, though, is nothing but a set-up to have the guest deliver a long speech about the decay of the world, the victory of the devil, and so on. It's contrived and indulgently verbose. And, given the apocalyptic dreariness that already fills every scene, it amounts to gilding the lily. Or whatever the exact opposite is of gilding a lily.
Every outdoor scene involves swirling gusts of dust and desiccated leaves. Which is welcome, in a way, because at least it provides some movement. But there are moments when the howling end-times atmospherics inadvertently edge toward humor. (It would be all too easy to make a parody of the interminable wind and zombie-like staring.)
There's a point when the father and daughter decide to abandon the place because it's become too inhospitable even for them. They pack up their possessions (in painstaking real-time) and then labor over the hill. And then we stare and stare at the desolate hill — and then we watch them circle back. And unpack everything. No explanations. Given the film's utter lack of symbolism anywhere else, it's hard to take this as a surrealist statement about the impossibility of escape. It's just an inexplicable thing that happens.
It's interesting that despite its relentless gloom, the movie isn't really "sad." That's largely due to the fact that Tarr makes his characters so impenetrable and dull — without engagement, it's difficult to feel anything, including (especially) sadness. However, Tarr deserves some credit for eschewing graphic cruelty toward humans or horses; the film is austere but never assaultive.
Characters/Performances: The character notes for this film could fit on a the back of a matchbook. We're meant to see them as miserable automatons who have been sapped of warmth and interest by years of privation and drudgery. The idea (I think) is that the austerity of their circumstances has rendered them emotionally, intellectually, and spirituality denuded. All that remains is to trudge from one dreary hardship to another.
That's the point. And it's not enough of one. The film's images are starkly memorable, but the characters themselves are never more than elements in the scene. They aren't people, they're avatars of misery. This is Tarr's biggest mistake. He hasn't peopled the film with actual people — the characters are only ever his cynical suffer-dolls.
Possibly Inevitable Tarkovsky Comparison: There are strong similarities here to Andrei Tarkovsky's Andrei Rublev. That film has a similar visual quality, but Tarr is obviously benefitting from technical resources that didn't exist in the mid-60s Soviet Union. But Tarr doesn't experiment with perspective or spatial sense in the way that Tarkovsky does — his camera is just as lifless as his characters. Given a choice between the exsanguinated slowness of Tarr and the meditative slowness of Tarkovsky, I'll take the latter.
Best Moment: The film's best scene shows the daughter closing the barn door on the dying horse (the one character we care about) in a way that conveys finality. The lingering camera is warranted here and affecting.
File Under: bleak, dreary, gloomy, stark, slow, beautiful imagery
Category : 2010s, Drama, Historical, Hungarian, Hungary
Tags : beautiful imagery, bleak, dreary, Featured Post, gloomy, slow, stark
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text:
/** @file ChassisData.h
 *
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 */
#ifndef ChassisData_h
#define ChassisData_h 1

#include <stdint.h>
#include <stddef.h>

#ifdef __cplusplus
extern "C" {
#endif

  /** The "packed" attribute prevents GCC from adding extra bytes to the
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     structure needs to have the same layout o nall architectures (e.g., your
     computer [probably 64-bit] and the AVR microcontrollers [8-bit]).  */
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	/**	Whether to speed-control the motors (rather than power control) */
	unsigned char pid_enabled : 2;

	/**	Re-initialize the PID loop. This should clear accumulated error when
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	unsigned char pid_init : 2;

	/**	Trigger when the arduino should expect new values for P, I, and D from
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	unsigned char pid_accept_values : 2;

	/**	Left motor speed */
	int8_t left_motor;

	/**	Right motor speed */
	int8_t right_motor;

	unsigned char padding : 2;

  } ChassisData;

#ifdef __cplusplus
}
#endif

#endif	/* ChassisData_h */

redpajama_set_name: RedPajamaGithub